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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, \u003cb>The Bay Bridged\u003c/b> podcast spotlights WHY?, whose new album \u003cb>Eskimo Snow\u003c/b> is out now on Anticon Records. The album is WHY?’s third full length as a band, and it comes bearing the high expectations that follow 2005’s \u003cb>Elephant Eyelash\u003c/b> and 2008’s \u003cb>Alopecia\u003c/b>, releases that meshed catchy folk-rock with the rhythms and pastiche-friendly aesthetic of hip hop.\u003c/p>\n\u003cp>\u003cb>Eskimo Snow\u003c/b> was actually recorded at the same time as \u003cb>Alopecia\u003c/b>, but it became quickly apparent to the band that certain songs would only fit on one album or the other. While the new work carries many of the WHY? hallmarks, layered melodic rock and dense lyrical content, some differences — or, perhaps, distinctions — quickly become apparent. For one, \u003cb>Eskimo Snow\u003c/b> is an incredibly introspective and somber work, and bandleader Yoni Wolf has noted that it’s the least hip hop-connected of any of the band’s releases.\u003c/p>\n\u003cp>\u003cb>Eskimo Snow\u003c/b> is the latest chapter in Yoni’s lengthy music career, in which he has also held the roles of co-founder of the Anticon collective, one-third of cLOUDDEAD and the solo artist responsible for the acclaimed album \u003cb>Oaklandazulasylum\u003c/b>. If WHY?’s latest work is its least hip hop, it’s still marked by the sense of fearless experimentation shown throughout Yoni’s career. At the same time, it is WHY?’s most unified release, and a compelling work in its own right.\u003c/p>\n\u003cp>We were pleased to sit down with Yoni Wolf to discuss the new album, WHY?’s origins and the history of Anticon.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, October 17th\u003cbr>Great American Music Hall\u003cbr>with Mount Eerie, AU, Serengeti and Polyphonic\u003cbr>9pm, $16, All Ages\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Remember learning about the three ages of a river in geography class? Well, the same theory can be applied to rock bands. At first they are young and untamed, rushing blindly on like lemmings with guitars. Then they settle and develop, benefitting from a little knowledge and nuance. And finally they turn bloated and sluggish, phoning in a few quickly forgotten records on the way to retirement, death, or obscurity. Some bands never make it out of the first stage. Others spend only a brief moment in that golden middle period, while a precious few manage to linger there for longer, carving out interesting careers spanning various releases. Like \u003ca href=\"http://www.yolatengo.com/\">Yo La Tengo\u003c/a>, for example.\u003c/p>\n\u003cp>But on the evidence of their most recent release, \u003cb>Popular Songs\u003c/b>, these perennial indie darlings are in danger of slipping into meandering meaninglessness. It isn’t so much a bad album as it is a disappointing one. It’s the kind of record that has you reaching for their older releases to see if they are as good as you remembered (they are), or wondering if the band recently “did an REM” and signed some creativity-killing megadeal with a major (they haven’t). You could almost be forgiven for thinking it was a collection of B-sides, if only Yo La Tengo hadn’t already released at least two collections of far more interesting offcuts.\u003c/p>\n\u003cp>Too much of \u003cb>Popular Songs\u003c/b> feels like underwhelming filler, such as the soporific “When It’s Dark,” the silly fluff of “Periodically Triple Or Double,” the easy listening “I’m On My Way,” or the one-dimensional “By Two’s.” And then there’s “If It’s True,” a track that begins with a spot-on imitation of a classic Motown intro, but only suffers from the comparison from that point on. Granted, some tracks are better than others, but none are strong enough to save the album as a whole. Even album opener “Here to Fall,” which is propelled by dramatic stabs of strings and a rolling, dirty beat, still comes off as too polished and self-aware for its own good. The whole things feels disappointingly lazy and just a little fake, like going to your favorite family-run restaurant and hearing the ping of a microwave just before your food appears.\u003c/p>\n\u003cp>Of course, there are some who believe Yo La Tengo have always been overrated, and their delicate/distorted back catalog may seem slight to some in places. But more often it surprises, finding passion in understatement, or calm amid a squall. Take a song like “Autumn Sweater,” a piece of music so cosy it even features knitwear in the title. But it is also filled with sadness and regret, and captures something fundamental about the fleeting nature of time. This new album, in contrast, seems like all woollens and no scratch. The difference is subtle, but important.\u003c/p>\n\u003cp>Perhaps Yo La Tengo were never destined to be a great band, but for a long time they have been a really good one, and a truly entertaining live act too. Hopefully their shows in northern California this weekend will give a more optimistic indication of what lies around the next bend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Popular Songs\u003c/b> by Yo La Tengo is out now on \u003ca href=\"http://www.matadorrecords.com/\">Matador Records\u003c/a>. They play the Rio Theatre in Santa Cruz on October 17, 2009 and the Treasure Island Music Festival on October 18. For information and tickets, go to \u003ca href=\"http://www.riotheatre.com/\">Riotheatre.com\u003c/a> and \u003ca href=\"http://treasureislandfestival.com/\">Treasureislandfestival.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember learning about the three ages of a river in geography class? Well, the same theory can be applied to rock bands. At first they are young and untamed, rushing blindly on like lemmings with guitars. Then they settle and develop, benefitting from a little knowledge and nuance. And finally they turn bloated and sluggish, phoning in a few quickly forgotten records on the way to retirement, death, or obscurity. Some bands never make it out of the first stage. Others spend only a brief moment in that golden middle period, while a precious few manage to linger there for longer, carving out interesting careers spanning various releases. Like \u003ca href=\"http://www.yolatengo.com/\">Yo La Tengo\u003c/a>, for example.\u003c/p>\n\u003cp>But on the evidence of their most recent release, \u003cb>Popular Songs\u003c/b>, these perennial indie darlings are in danger of slipping into meandering meaninglessness. It isn’t so much a bad album as it is a disappointing one. It’s the kind of record that has you reaching for their older releases to see if they are as good as you remembered (they are), or wondering if the band recently “did an REM” and signed some creativity-killing megadeal with a major (they haven’t). You could almost be forgiven for thinking it was a collection of B-sides, if only Yo La Tengo hadn’t already released at least two collections of far more interesting offcuts.\u003c/p>\n\u003cp>Too much of \u003cb>Popular Songs\u003c/b> feels like underwhelming filler, such as the soporific “When It’s Dark,” the silly fluff of “Periodically Triple Or Double,” the easy listening “I’m On My Way,” or the one-dimensional “By Two’s.” And then there’s “If It’s True,” a track that begins with a spot-on imitation of a classic Motown intro, but only suffers from the comparison from that point on. Granted, some tracks are better than others, but none are strong enough to save the album as a whole. Even album opener “Here to Fall,” which is propelled by dramatic stabs of strings and a rolling, dirty beat, still comes off as too polished and self-aware for its own good. The whole things feels disappointingly lazy and just a little fake, like going to your favorite family-run restaurant and hearing the ping of a microwave just before your food appears.\u003c/p>\n\u003cp>Of course, there are some who believe Yo La Tengo have always been overrated, and their delicate/distorted back catalog may seem slight to some in places. But more often it surprises, finding passion in understatement, or calm amid a squall. Take a song like “Autumn Sweater,” a piece of music so cosy it even features knitwear in the title. But it is also filled with sadness and regret, and captures something fundamental about the fleeting nature of time. This new album, in contrast, seems like all woollens and no scratch. The difference is subtle, but important.\u003c/p>\n\u003cp>Perhaps Yo La Tengo were never destined to be a great band, but for a long time they have been a really good one, and a truly entertaining live act too. Hopefully their shows in northern California this weekend will give a more optimistic indication of what lies around the next bend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=25463\">I urged all of you\u003c/a> to scrounge up some tickets to last night’s Fever Ray show. If you ended up taking heed, you’re welcome. And, if you didn’t, you missed one hell of a production. I hesitate to call it a concert because it was more of an art performance staged in a haunted house (with lasers!).\u003c/p>\n\u003cp>For a good 45 minutes before Fever Ray took the stage, smoke was continuously pumped into the Regency Ballroom — an already mysterious location in the Kubrick sense. Just as the crowd (a large percentage of which was decked out in skeletal face paint) was getting restless, a hooded man emerged and lit two separate chunks of incense on either side of the stage. Andreas Nilsson, the director of the tour, clearly had a specific aesthetic in mind: one that hints of mysticism, tribal rituals, and the Old World’s bloated fear of the unseen.\u003c/p>\n\u003cp>\u003c/p>\u003cp>As the incense merged with the thick fog from the smoke machines, two lasers were lit up, reflecting off a number of tiny mirrors strategically placed on the walls and stage. Soon, Karin Dreijer Andersson appeared in the fog, a shadow shrouded in a hooded cloak with a shrunken head adornment. Her bandmates brandished staffs and other tribal regalia, one was even dressed as a whirling dervish. What ensued can only be described as a nightmare I never wanted to wake from. Here are some photos from my trip to the underworld:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-2.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-3.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-1.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-7.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-6.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-8.jpg\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-10.jpg\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-12.jpg\">\u003c/p>\n\n",
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"content": "\u003cp>Temperatures around the Bay have been dropping, but plenty of good shows in October make it worth venturing out into the cold. Some sneak peeks below:\u003c/p>\n\u003ch2>AMY MILLAN\u003c/h2>\n\u003cp>As a member of Stars and Broken Social Scene, \u003ca href=\"http://www.myspace.com/amymillan\">Amy Millan\u003c/a> created some future-classic indie pop, so it was a bit of surprise to find her leaving those sounds on her solo debut, 2006’s \u003cb>Honey from the Tombs\u003c/b>. Millan still has great pop hooks, but she’s traded in the synths and the uptempo tracks for country-inspired ballads and slide guitars. 2009’s \u003cb>Masters of the Burial\u003c/b> is a wonderful album that’s even better than her solo debut. On \u003cb>Masters\u003c/b>, Millan delivers heartfelt originals and moving renditions of songs by Death Cab for Cutie and Richard Hawley that are simply entrancing. Amy Millan will be performing at \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on Wednesday, October 28th, with \u003ca href=\"http://www.myspace.com/bahamasbreeze\">Bahamas\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>THE RAINCOATS\u003c/h2>\n\u003cp>Before LA post-punk champions Part Time Punks host their second annual festival in Los Angeles on October 11th, they’re bringing a mini-fest of sorts to \u003ca href=\"http://www.mezzaninesf.com/\">The Mezzanine\u003c/a> on Friday, October 11th. The show nicely blends post-punk past and present, headlined by \u003ca href=\"http://www.myspace.com/theraincoats\">The Raincoats\u003c/a> playing the West Coast for the first time ever. The all-female post-punk band’s self-titled debut has become one of the genre’s classics, and is now being rereleased on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>. Kurt Cobain championed the group, and invited them to open for Nirvana on the 1994 UK tour that was canceled following his passing.\u003c/p>\n\u003cp>Beyond the historically significant headliners and a formidable lineup of DJs (including members of Gang of Four!), a number of great local bands are performing too. From \u003ca href=\"http://www.myspace.com/magicbullets\">Magic Bullets\u003c/a>‘ British retro-pop to the avant-skronk of \u003ca href=\"http://www.myspace.com/deathsentencepanda\">Death Sentence: Panda\u003c/a>, it’s a diverse show with a lot to offer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>TREASURE ISLAND MUSIC FESTIVAL\u003c/h2>\n\u003cp>It would be difficult to discuss Bay Area indie rock in October without noting the \u003ca href=\"http://www.treasureislandfestival.com\">Treasure Island Music Festival\u003c/a>, which takes over the island on Saturday, October 17th and Sunday the 18th. Music aside, the festival does a number of things right: it’s relatively affordable (as large fests go), none of the sets overlap (so you can theoretically see every performer), and there are free biodiesel shuttle buses to and from the festival.\u003c/p>\n\u003cp>Obviously, none of those benefits matter if the bands aren’t worth seeing, but that thankfully isn’t the case here. Saturday is more electronically-oriented, while Sunday has a slew of big name indie rockers. I’m particularly excited to see \u003ca href=\"http://www.yolatengo.com\">Yo La Tengo\u003c/a>, whose latest album \u003cb>Popular Songs\u003c/b> is yet another winner, finding the band continuing to expand the boundaries of the “Yo La Tengo” sound. Even if you’re just interested in the big names, though, I’d recommend going early enough to see some of Sunday’s locals: \u003ca href=\"http://www.myspace.com/thaomusic\">Thao with The Get Down Stay Down\u003c/a>, \u003ca href=\"http://www.myspace.com/vetiverse\">Vetiver\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> and \u003ca href=\"http://www.myspace.com/tommyguerrero\">Tommy Guerrero\u003c/a>. Thao’s new album, \u003cb>Know Better Learn Faster\u003c/b>, a high energy burst of catchy and heartbreaking songs, is out next week on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>SLEEPY SUN\u003c/h2>\n\u003cp>If you don’t see \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> on Treasure Island, catch them at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on Friday, October 30th. There, they’ll be joined by shoegaze pop band \u003ca href=\"http://www.myspace.com/theantlers\">The Antlers\u003c/a>, a Brooklyn trio whose latest album \u003cb>Hospice\u003c/b> is accruing high marks from numerous critics.\u003c/p>\n\u003ch2>FRISCO FREAKOUT\u003c/h2>\n\u003cp>The second annual \u003ca href=\"http://www.friscofreakout.com\">Frisco Freakout\u003c/a> brings some of the Bay Area’s best psych bands to \u003ca href=\"http://www.theeparkside.com\">Thee Parkside\u003c/a> on Saturday, October 10th.\u003c/p>\n\u003ch2>NEIL HAMBURGER\u003c/h2>\n\u003cp>Anti-comedian \u003ca href=\"http://www.myspace.com/americasfunnyman\">Neil Hamburger\u003c/a> returns to the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, October 23rd. Hamburger’s alter ego Gregg Turkington is a former SF resident, and the character’s early CD appearances involved harassing local comedy clubs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Temperatures around the Bay have been dropping, but plenty of good shows in October make it worth venturing out into the cold. Some sneak peeks below:\u003c/p>\n\u003ch2>AMY MILLAN\u003c/h2>\n\u003cp>As a member of Stars and Broken Social Scene, \u003ca href=\"http://www.myspace.com/amymillan\">Amy Millan\u003c/a> created some future-classic indie pop, so it was a bit of surprise to find her leaving those sounds on her solo debut, 2006’s \u003cb>Honey from the Tombs\u003c/b>. Millan still has great pop hooks, but she’s traded in the synths and the uptempo tracks for country-inspired ballads and slide guitars. 2009’s \u003cb>Masters of the Burial\u003c/b> is a wonderful album that’s even better than her solo debut. On \u003cb>Masters\u003c/b>, Millan delivers heartfelt originals and moving renditions of songs by Death Cab for Cutie and Richard Hawley that are simply entrancing. Amy Millan will be performing at \u003ca href=\"http://cafedunord.com/\">Cafe Du Nord\u003c/a> on Wednesday, October 28th, with \u003ca href=\"http://www.myspace.com/bahamasbreeze\">Bahamas\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/IA3Zq9nB3PE&hl=en&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>THE RAINCOATS\u003c/h2>\n\u003cp>Before LA post-punk champions Part Time Punks host their second annual festival in Los Angeles on October 11th, they’re bringing a mini-fest of sorts to \u003ca href=\"http://www.mezzaninesf.com/\">The Mezzanine\u003c/a> on Friday, October 11th. The show nicely blends post-punk past and present, headlined by \u003ca href=\"http://www.myspace.com/theraincoats\">The Raincoats\u003c/a> playing the West Coast for the first time ever. The all-female post-punk band’s self-titled debut has become one of the genre’s classics, and is now being rereleased on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>. Kurt Cobain championed the group, and invited them to open for Nirvana on the 1994 UK tour that was canceled following his passing.\u003c/p>\n\u003cp>Beyond the historically significant headliners and a formidable lineup of DJs (including members of Gang of Four!), a number of great local bands are performing too. From \u003ca href=\"http://www.myspace.com/magicbullets\">Magic Bullets\u003c/a>‘ British retro-pop to the avant-skronk of \u003ca href=\"http://www.myspace.com/deathsentencepanda\">Death Sentence: Panda\u003c/a>, it’s a diverse show with a lot to offer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/MZJt56z5Ywc&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>TREASURE ISLAND MUSIC FESTIVAL\u003c/h2>\n\u003cp>It would be difficult to discuss Bay Area indie rock in October without noting the \u003ca href=\"http://www.treasureislandfestival.com\">Treasure Island Music Festival\u003c/a>, which takes over the island on Saturday, October 17th and Sunday the 18th. Music aside, the festival does a number of things right: it’s relatively affordable (as large fests go), none of the sets overlap (so you can theoretically see every performer), and there are free biodiesel shuttle buses to and from the festival.\u003c/p>\n\u003cp>Obviously, none of those benefits matter if the bands aren’t worth seeing, but that thankfully isn’t the case here. Saturday is more electronically-oriented, while Sunday has a slew of big name indie rockers. I’m particularly excited to see \u003ca href=\"http://www.yolatengo.com\">Yo La Tengo\u003c/a>, whose latest album \u003cb>Popular Songs\u003c/b> is yet another winner, finding the band continuing to expand the boundaries of the “Yo La Tengo” sound. Even if you’re just interested in the big names, though, I’d recommend going early enough to see some of Sunday’s locals: \u003ca href=\"http://www.myspace.com/thaomusic\">Thao with The Get Down Stay Down\u003c/a>, \u003ca href=\"http://www.myspace.com/vetiverse\">Vetiver\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> and \u003ca href=\"http://www.myspace.com/tommyguerrero\">Tommy Guerrero\u003c/a>. Thao’s new album, \u003cb>Know Better Learn Faster\u003c/b>, a high energy burst of catchy and heartbreaking songs, is out next week on \u003ca href=\"http://www.killrockstars.com\">Kill Rock Stars\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/17zFF3Wu2A8&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003ch2>SLEEPY SUN\u003c/h2>\n\u003cp>If you don’t see \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a> on Treasure Island, catch them at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on Friday, October 30th. There, they’ll be joined by shoegaze pop band \u003ca href=\"http://www.myspace.com/theantlers\">The Antlers\u003c/a>, a Brooklyn trio whose latest album \u003cb>Hospice\u003c/b> is accruing high marks from numerous critics.\u003c/p>\n\u003ch2>FRISCO FREAKOUT\u003c/h2>\n\u003cp>The second annual \u003ca href=\"http://www.friscofreakout.com\">Frisco Freakout\u003c/a> brings some of the Bay Area’s best psych bands to \u003ca href=\"http://www.theeparkside.com\">Thee Parkside\u003c/a> on Saturday, October 10th.\u003c/p>\n\u003ch2>NEIL HAMBURGER\u003c/h2>\n\u003cp>Anti-comedian \u003ca href=\"http://www.myspace.com/americasfunnyman\">Neil Hamburger\u003c/a> returns to the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, October 23rd. Hamburger’s alter ego Gregg Turkington is a former SF resident, and the character’s early CD appearances involved harassing local comedy clubs.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/zHn5yp4yFmI&hl=en&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Timeless Classic You've Never Heard Of",
"headTitle": "A Timeless Classic You’ve Never Heard Of | KQED",
"content": "\u003cp>The soon-to-be reissued album \u003cb>Tracks and Traces\u003c/b> — recorded in the mid-1970s by krautrock superstars \u003ca href=\"http://en.wikipedia.org/wiki/Harmonia_%28band%29\">Harmonia\u003c/a> and ambient egghead \u003ca href=\"http://www.enoshop.co.uk/\">Brian Eno\u003c/a> — has a checkered history longer than the combined ages of all three Jonas brothers (possibly). But, unlike those tween pop squeaks, this music shows no signs of passing its sell-by date. It sounds fresh enough to have been recorded yesterday, even though it could just as easily have not been recorded or released at all.\u003c/p>\n\u003cp>The story begins in 1976. Between quietly (very quietly, in fact) inventing ambient music and going on to record the album \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gifoxqq5ld0e\">\u003cb>Low\u003c/b>\u003c/a> with David Bowie, Brian Eno stopped off to record some sessions with experimental German trio Harmonia. The music was never intended for release, Harmonia broke up immediately afterward, and the master tapes promptly disappeared, presumed lost. Twenty years passed before one of the original band members, \u003ca href=\"http://www.myspace.com/roedelius\">Hans-Joachim Roedelius\u003c/a>, released an album of music culled from copies of the original four-track tapes. This, in turn, led to all three members of the band getting back together to work on this definitive new version, which has been completely remastered with three additional tracks. And it is a revelation.\u003c/p>\n\u003cp>Songs range in length from the 89 seconds of “When Shade Was Born” to an epic 16 minutes on “Sometimes In Autumn.” Abstract washes of electronica and more formally arranged tracks combine to pull off the unlikely trick of sounding both outdated and futuristic at the same time, like a re-imagined soundtrack for \u003cb>Blade Runner\u003c/b> (perhaps Ridley Scott could use it on his next definitive director’s cut). “Vamos Campaneros” has the propulsive thump of a steam-powered helicopter and is crying out for a drum and bass deconstruction. “Atmosphere” sounds like dark, \u003ca href=\"http://en.wikipedia.org/wiki/Burial_%28musician%29\">Burial\u003c/a>-style dubstep with the bass turned off. The vocals on “Luneberg Heath” (the only track featuring any voices) are delivered in the jaded monotone of Underworld’s Karl Hyde.\u003c/p>\n\u003cp>Except, of course, they’re not. This album was recorded long before \u003ca href=\"http://www.myspace.com/underworld\">Underworld\u003c/a> came into being, before even the original, early-1980s release of \u003ca href=\"http://en.wikipedia.org/wiki/Blade_Runner_%28soundtrack%29\">Blade Runner\u003c/a>. So the truth is more likely to be the opposite, that acts from Vangelis to Burial have been influenced by Harmonia and Eno, either directly or indirectly, as the waves of the music they created rippled from artist to artist over the intervening years. And that’s one of the joys of hearing an album out of sequence like this, one that has been made new by a collision of carelessness and happenstance. Thirty years can just disappear and somehow not even matter.\u003c/p>\n\u003cp>\u003cb>Tracks and Traces Reissue\u003c/b> by Harmonia & Eno ’76 is released October 6 on \u003ca href=\"http://www.groenland.com/2006/artists_harmonia_and_eno_76.asp\">Grönland / High Wire Music\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>The soon-to-be reissued album \u003cb>Tracks and Traces\u003c/b> — recorded in the mid-1970s by krautrock superstars \u003ca href=\"http://en.wikipedia.org/wiki/Harmonia_%28band%29\">Harmonia\u003c/a> and ambient egghead \u003ca href=\"http://www.enoshop.co.uk/\">Brian Eno\u003c/a> — has a checkered history longer than the combined ages of all three Jonas brothers (possibly). But, unlike those tween pop squeaks, this music shows no signs of passing its sell-by date. It sounds fresh enough to have been recorded yesterday, even though it could just as easily have not been recorded or released at all.\u003c/p>\n\u003cp>The story begins in 1976. Between quietly (very quietly, in fact) inventing ambient music and going on to record the album \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gifoxqq5ld0e\">\u003cb>Low\u003c/b>\u003c/a> with David Bowie, Brian Eno stopped off to record some sessions with experimental German trio Harmonia. The music was never intended for release, Harmonia broke up immediately afterward, and the master tapes promptly disappeared, presumed lost. Twenty years passed before one of the original band members, \u003ca href=\"http://www.myspace.com/roedelius\">Hans-Joachim Roedelius\u003c/a>, released an album of music culled from copies of the original four-track tapes. This, in turn, led to all three members of the band getting back together to work on this definitive new version, which has been completely remastered with three additional tracks. And it is a revelation.\u003c/p>\n\u003cp>Songs range in length from the 89 seconds of “When Shade Was Born” to an epic 16 minutes on “Sometimes In Autumn.” Abstract washes of electronica and more formally arranged tracks combine to pull off the unlikely trick of sounding both outdated and futuristic at the same time, like a re-imagined soundtrack for \u003cb>Blade Runner\u003c/b> (perhaps Ridley Scott could use it on his next definitive director’s cut). “Vamos Campaneros” has the propulsive thump of a steam-powered helicopter and is crying out for a drum and bass deconstruction. “Atmosphere” sounds like dark, \u003ca href=\"http://en.wikipedia.org/wiki/Burial_%28musician%29\">Burial\u003c/a>-style dubstep with the bass turned off. The vocals on “Luneberg Heath” (the only track featuring any voices) are delivered in the jaded monotone of Underworld’s Karl Hyde.\u003c/p>\n\u003cp>Except, of course, they’re not. This album was recorded long before \u003ca href=\"http://www.myspace.com/underworld\">Underworld\u003c/a> came into being, before even the original, early-1980s release of \u003ca href=\"http://en.wikipedia.org/wiki/Blade_Runner_%28soundtrack%29\">Blade Runner\u003c/a>. So the truth is more likely to be the opposite, that acts from Vangelis to Burial have been influenced by Harmonia and Eno, either directly or indirectly, as the waves of the music they created rippled from artist to artist over the intervening years. And that’s one of the joys of hearing an album out of sequence like this, one that has been made new by a collision of carelessness and happenstance. Thirty years can just disappear and somehow not even matter.\u003c/p>\n\u003cp>\u003cb>Tracks and Traces Reissue\u003c/b> by Harmonia & Eno ’76 is released October 6 on \u003ca href=\"http://www.groenland.com/2006/artists_harmonia_and_eno_76.asp\">Grönland / High Wire Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If Mary Shelley’s \u003cb>Frankenstein\u003c/b> was set to music, the score might sound something like \u003cb>Fever Ray\u003c/b>, the solo project of Karin Dreijer Andersson (one half of the sibling duo, the Knife). Picking up where the menacing beats she produced with her brother left off, Fever Ray wades into deeper and darker waters with an electronic sound that’s equally demonic and gothic. But, like what Shelley does with doctor Frankenstein’s monster, Fever Ray injects an ample dose of humanity into a monster’s disfigured body. Benevolence and affection peek through the spooky synths and distorted, growling voices on “Dry and Dusty:” “Never leave me/ Walk close behind me/ Your hand, my hand fits so easy.” And again on “If I Had a Heart:” “If I had a heart I could love you/ If I had a voice I would sing.”\u003c/p>\n\u003cp>As a whole, the self-titled album released earlier this year, captures the moment when a dream careens into a nightmare, a wounded rapture or blackened fantasy. Not exactly the record you would expect from a mother of two, but that’s what is so enticing and refreshing about Andersson. As an artist, she makes a living out of subverting expectations and digging tunnels under the boundaries of popular music.\u003c/p>\n\u003cp>What’s often expected of musicians coming out of Sweden is a bubbly and sweet product (think Abba and the Cardigans), but Andersson proves that Swedes can do more than one thing well. And, unlike her compatriots, she makes a point of removing the focus from the individual and placing it squarely on the art. Andersson explains her reasoning: “We think it’s important to let the music stand for itself more than focusing on the artist or the person who is behind it. Music has the potential and the capability to create something much bigger…it has the capability to be completely free, to do anything. And I think you limit that idea when you put yourself in front of it, in a way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-ray2.jpg\">\u003c/p>\n\u003cp>Andersson is so set on being nothing more than a portal for her artistic expression that, when the Knife won a bunch of Grammis (the Swedish version of The Grammys), she sent friends in gorilla costumes to accept the awards on her behalf. Moreover, the Knife didn’t tour for five or six years after their debut triple-platinum album. And, as Fever Ray, Andersson protects what’s left of her anonymity by wearing masks, hoods with shrunken heads on them, and skeletal face paint, channeling the music in order to become different characters beyond herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite this reluctance to the spotlight, she has decided to lower her mask a bit when she performs on her latest US tour. Fever Ray has a history of being visually conceptual, from the \u003ca href=\"http://www.feverray.com/wp-content/themes/fever_ray_1.0/images/cover.gif\" target=\"offsite\" rel=\"noopener\">cover art of the album and its singles\u003c/a> to the immaculately shot music videos. And with Andreas Nilsson (the man behind the “If I Had a Heart” video) directing the tour, it’s bound to be quite the extraordinary spectacle. Early reports speak of mist, lamps, laser beams, elaborate costumes, and even more face paint. And Pitchfork describes the last time Andersson toured with the Knife as “a unique amalgamation of performance art, rave, and horror movie.” It’s enough to make your mouth water.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fever Ray plays \u003ca href=\"http://regencycentersf.com/\" target=\"offsite\" rel=\"noopener\">The Regency Ballroom\u003c/a> in San Francisco on October 5, 2009. For \u003ca href=\"http://www.ticketmaster.com/event/1C0042A8DB936A29?brand=goldenvoice\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit ticketmaster.com or feverray.com. Check back after the concert for dazzling pictures of my journey through the underworld. Here’s a teaser video of the tour and some other treats to tide you over:\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Mary Shelley’s \u003cb>Frankenstein\u003c/b> was set to music, the score might sound something like \u003cb>Fever Ray\u003c/b>, the solo project of Karin Dreijer Andersson (one half of the sibling duo, the Knife). Picking up where the menacing beats she produced with her brother left off, Fever Ray wades into deeper and darker waters with an electronic sound that’s equally demonic and gothic. But, like what Shelley does with doctor Frankenstein’s monster, Fever Ray injects an ample dose of humanity into a monster’s disfigured body. Benevolence and affection peek through the spooky synths and distorted, growling voices on “Dry and Dusty:” “Never leave me/ Walk close behind me/ Your hand, my hand fits so easy.” And again on “If I Had a Heart:” “If I had a heart I could love you/ If I had a voice I would sing.”\u003c/p>\n\u003cp>As a whole, the self-titled album released earlier this year, captures the moment when a dream careens into a nightmare, a wounded rapture or blackened fantasy. Not exactly the record you would expect from a mother of two, but that’s what is so enticing and refreshing about Andersson. As an artist, she makes a living out of subverting expectations and digging tunnels under the boundaries of popular music.\u003c/p>\n\u003cp>What’s often expected of musicians coming out of Sweden is a bubbly and sweet product (think Abba and the Cardigans), but Andersson proves that Swedes can do more than one thing well. And, unlike her compatriots, she makes a point of removing the focus from the individual and placing it squarely on the art. Andersson explains her reasoning: “We think it’s important to let the music stand for itself more than focusing on the artist or the person who is behind it. Music has the potential and the capability to create something much bigger…it has the capability to be completely free, to do anything. And I think you limit that idea when you put yourself in front of it, in a way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/fever-ray2.jpg\">\u003c/p>\n\u003cp>Andersson is so set on being nothing more than a portal for her artistic expression that, when the Knife won a bunch of Grammis (the Swedish version of The Grammys), she sent friends in gorilla costumes to accept the awards on her behalf. Moreover, the Knife didn’t tour for five or six years after their debut triple-platinum album. And, as Fever Ray, Andersson protects what’s left of her anonymity by wearing masks, hoods with shrunken heads on them, and skeletal face paint, channeling the music in order to become different characters beyond herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite this reluctance to the spotlight, she has decided to lower her mask a bit when she performs on her latest US tour. Fever Ray has a history of being visually conceptual, from the \u003ca href=\"http://www.feverray.com/wp-content/themes/fever_ray_1.0/images/cover.gif\" target=\"offsite\" rel=\"noopener\">cover art of the album and its singles\u003c/a> to the immaculately shot music videos. And with Andreas Nilsson (the man behind the “If I Had a Heart” video) directing the tour, it’s bound to be quite the extraordinary spectacle. Early reports speak of mist, lamps, laser beams, elaborate costumes, and even more face paint. And Pitchfork describes the last time Andersson toured with the Knife as “a unique amalgamation of performance art, rave, and horror movie.” It’s enough to make your mouth water.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fever Ray plays \u003ca href=\"http://regencycentersf.com/\" target=\"offsite\" rel=\"noopener\">The Regency Ballroom\u003c/a> in San Francisco on October 5, 2009. For \u003ca href=\"http://www.ticketmaster.com/event/1C0042A8DB936A29?brand=goldenvoice\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit ticketmaster.com or feverray.com. Check back after the concert for dazzling pictures of my journey through the underworld. Here’s a teaser video of the tour and some other treats to tide you over:\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, \u003cb>The Bay Bridged\u003c/b> features Oakland electro-R&B-pop duo Wallpaper., whose debut full length \u003cb>Doodoo Face\u003c/b>, comes out today on Eenie Meenie Records. Like perhaps many, we stumbled onto the band via the song and video for “T. Rex,” off the 2008 EP of the same name. That track quickly became a favorite around the studio, as has every Wallpaper. song or remix we’ve heard since. Expertly mixing addictive melodies, layered sounds and rhythms, the music also has real sense of fun. When we hosted the band at the Bay Area Takeover at SXSW 2009, we were blown away.\u003c/p>\n\u003cp>Wallpaper. began as a solo project for Eric Frederic of Facing New York, who initially used it to experiment with electronic sounds. Over time, though, Wallpaper.’s sound has grown more focused and more organic, tapping into Frederic’s unironic love for R&B and giving birth to his alter ego Ricky Reed. Reed is the band’s lead singer, on-stage master of ceremonies, and the central character in many of the group’s songs. He’s also a clever way for Frederic to establish his own identity as the studio whiz. Reed may be the talented vocalist and funmaker, but it’s Frederic who’s the genius songwriter/producer behind it all.\u003c/p>\n\u003cp>We sat down with Eric Frederic to discuss the new album, working with Ricky Reed and more. We’ve also included four songs from \u003cb>Doodoo Face\u003c/b> in the episode.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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. 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",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"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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"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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"politicalbreakdown": {
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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": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"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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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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