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"content": "\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Veckatimest\u003c/b>, the third LP from Grizzly Bear, is quite possibly the most-anticipated music release of 2009. Music bloggers have been exclaiming from the rooftops of its impending grandeur for months, a re-run of the treatment Animal Collective’s \u003cb>Merriweather Post Pavilion\u003c/b> received earlier this year. And, much like Animal Collective’s effort, this album turns out to be everything the music critics said it would be. Maybe even more.\u003c/p>\n\u003cp>All the hype boiled over when \u003cb>Veckatimest\u003c/b> was leaked unprecedentedly early, three entire months before the album’s intended release. Audiophiles ravenously feasted on the lo-fi version. The preview gave listeners a healthy dose of what the band had been busy concocting in upstate New York, a Brooklyn church, and Cape Cod (the album takes its name from an uninhabited island off the New England coast), but the leak lacks the level of sound quality needed to appreciate the level of precision and meticulous detail that appears throughout the twelve new songs.\u003c/p>\n\u003cp>The band labored over this record, throwing different ingredients in until they reached the perfect blend, the desired explosion. And there are plenty of sparks on \u003cb>Veckatimest\u003c/b>. By inching away from the darker atmosphere of 2006’s \u003cb>Yellow House\u003c/b>, the band has reached clearer skies where the sun is shining and bright pop songs are permitted.\u003c/p>\n\u003cp>\u003c/p>\u003cp>“Southern Point,” a frenetic, ringing track that builds and builds, kicks things off in this sunny manner. Summery first single, “Two Weeks” carries on the up-beat motif with infectious choral harmonizing and vampy keys. As if the song wasn’t enough to ooh and ahh over, the band enlisted Beach House’s Victoria LeGrand to lend her coo to the backing vocals. And the music video, directed by Patrick Daughters, is just as impressive with its creepy big-eyed altar boys and exploding heads (watch it below). Other sure-fire hits are the rah-rah worthy “Cheerleader,” the so-pretty-it-hurts “Ready, Able,” and the ’60s influenced “While You Wait for the Others.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grizzly Bear isn’t really known for their lyrics, as they usually prove too oblique to decipher, but there is a reoccuring narrative thread that pokes through \u003cb>Veckatimest\u003c/b>. Many of the songs deal with the distance between two people and the implications that come with such space (longing, isolation, detachment). Lovers fight to stay close on “I Live With You” (“They’ll try to keep us apart”), doubt a future together on “Southern Point” (“Will I return to you, will you return to me?”), and politely concede permanent separation on “While You Wait for the Others” (“I’ll ask you kindly to make your way”). \u003cb>Veckatimest\u003c/b> may not sound like it at first, but it’s more or less a collection of love songs, separate accounts of a pumping heart and what happens when that heart is put at risk. Nothing gets more romantic than “All We Ask,” a dreamy ode from Venus that ends with an instrumental breakdown built around a simple line: \u003ci>I can’t get out of what I’m into with you\u003c/i>.\u003c/p>\n\u003cp>Despite its tendency towards brightness and romance, \u003cb>Veckatimest\u003c/b> never feels overly precious; in fact, it has quite the bite. The experience of listening to the album is a bit like what might happen if you met an actual grizzly in the woods. You could run, but the bear would be faster. You could brandish that stick over there, but he would just swallow it down along with your arm. The only thing left to do is let him have his way with you.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=tjecYugTbIQ&hl=en&fs=1&rel=0&color1=0x006699&color2=0x54abd6]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Veckatimest\u003c/b> drops on Tuesday May 26, 2009 and the band comes to \u003ca href=\"http://www.livenation.com/edp/eventId/405041\" target=\"offsite\" rel=\"noopener\">The Fillmore\u003c/a> with \u003ca href=\"http://www.myspace.com/herewegomagic\" target=\"offsite\" rel=\"noopener\">Here We Go Magic\u003c/a> on Sunday June 21, 2009. Go on, get mauled.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grizzly Bear isn’t really known for their lyrics, as they usually prove too oblique to decipher, but there is a reoccuring narrative thread that pokes through \u003cb>Veckatimest\u003c/b>. Many of the songs deal with the distance between two people and the implications that come with such space (longing, isolation, detachment). Lovers fight to stay close on “I Live With You” (“They’ll try to keep us apart”), doubt a future together on “Southern Point” (“Will I return to you, will you return to me?”), and politely concede permanent separation on “While You Wait for the Others” (“I’ll ask you kindly to make your way”). \u003cb>Veckatimest\u003c/b> may not sound like it at first, but it’s more or less a collection of love songs, separate accounts of a pumping heart and what happens when that heart is put at risk. Nothing gets more romantic than “All We Ask,” a dreamy ode from Venus that ends with an instrumental breakdown built around a simple line: \u003ci>I can’t get out of what I’m into with you\u003c/i>.\u003c/p>\n\u003cp>Despite its tendency towards brightness and romance, \u003cb>Veckatimest\u003c/b> never feels overly precious; in fact, it has quite the bite. The experience of listening to the album is a bit like what might happen if you met an actual grizzly in the woods. You could run, but the bear would be faster. You could brandish that stick over there, but he would just swallow it down along with your arm. The only thing left to do is let him have his way with you.\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/tjecYugTbIQ'\n title='//www.youtube.com/embed/tjecYugTbIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Veckatimest\u003c/b> drops on Tuesday May 26, 2009 and the band comes to \u003ca href=\"http://www.livenation.com/edp/eventId/405041\" target=\"offsite\" rel=\"noopener\">The Fillmore\u003c/a> with \u003ca href=\"http://www.myspace.com/herewegomagic\" target=\"offsite\" rel=\"noopener\">Here We Go Magic\u003c/a> on Sunday June 21, 2009. Go on, get mauled.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Odawas are a duo that fuses ambient synth tones and singer-songwriter rock. Michael Tapscott (keyboards, guitars, vocals, harmonicas, dry skin, songs and sounds) and Isaac Edwards (keyboards, patience, ears and beards, sounds and songs) met as students in Bloomington, Indiana in 2004, and moved around the Midwest before ultimately settling in Berkeley last winter. Their arrival in the Bay was soon followed by the release of their excellent latest album, \u003cb>The Blue Depths (Jagjaguwar)\u003c/b>, a critically-acclaimed work that they’ve supported with performances up and down the West Coast. It’s been a busy 2009 for Odawas, with little sign of letting up.\u003c/p>\n\u003cp>The band’s unique sound results from shared interests and divided roles. Both Tapscott and Edwards have a love of film soundtracks and electronic compositions, and they harness the grandeur of these styles to maximize the emotional impact of what remain, at their core, rock songs. Rock songs that are principally composed on keyboards, that is, and written initially by Michael alone, who then delivers his rough sketches to Isaac for refinement and reworking. That separation works for the band, but it seems a little surprising, given how cohesive the mix of organic and electronic layers is on \u003cb>The Blue Depths\u003c/b>. “Cohesive” understates it considerably; this is a lush album full of riches to enjoy.\u003c/p>\n\u003cp>We sat down with Michael and Isaac to discuss the band’s migration west, their latest album, and their songwriting dynamic. We’ve also got four Odawas songs along with the conversation.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, June 6th\u003cbr>Shoreline Amphitheatre (BFD Festival — Soundcheck Local Band Stage)\u003cbr>with 35 other bands on 4 stages (full lineup at Live105.com)\u003cbr>Noon, $25, All Ages\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Odawas are a duo that fuses ambient synth tones and singer-songwriter rock. Michael Tapscott (keyboards, guitars, vocals, harmonicas, dry skin, songs and sounds) and Isaac Edwards (keyboards, patience, ears and beards, sounds and songs) met as students in Bloomington, Indiana in 2004, and moved around the Midwest before ultimately settling in Berkeley last winter. Their arrival in the Bay was soon followed by the release of their excellent latest album, \u003cb>The Blue Depths (Jagjaguwar)\u003c/b>, a critically-acclaimed work that they’ve supported with performances up and down the West Coast. It’s been a busy 2009 for Odawas, with little sign of letting up.\u003c/p>\n\u003cp>The band’s unique sound results from shared interests and divided roles. Both Tapscott and Edwards have a love of film soundtracks and electronic compositions, and they harness the grandeur of these styles to maximize the emotional impact of what remain, at their core, rock songs. Rock songs that are principally composed on keyboards, that is, and written initially by Michael alone, who then delivers his rough sketches to Isaac for refinement and reworking. That separation works for the band, but it seems a little surprising, given how cohesive the mix of organic and electronic layers is on \u003cb>The Blue Depths\u003c/b>. “Cohesive” understates it considerably; this is a lush album full of riches to enjoy.\u003c/p>\n\u003cp>We sat down with Michael and Isaac to discuss the band’s migration west, their latest album, and their songwriting dynamic. We’ve also got four Odawas songs along with the conversation.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, June 6th\u003cbr>Shoreline Amphitheatre (BFD Festival — Soundcheck Local Band Stage)\u003cbr>with 35 other bands on 4 stages (full lineup at Live105.com)\u003cbr>Noon, $25, All Ages\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This Memorial Day weekend brings the Bay Area the \u003cb>2009 San Francisco Popfest\u003c/b>, a series of concerts showcasing over thirty international indie pop bands performing over four days and nights at various SF venues. The festival’s rich list of bands offers a broad taste of indie pop in 2009, a genre that has maintained a fervent cult for over two decades.\u003c/p>\n\u003cp>Unlike an overly expansive and therefore meaningless categorization like “indie rock,” indie pop is rooted in a common set of influences which continue to inform the genre’s musical identity and DIY approach today. Those commonalities begin with early 1980s British pop-rock and post-punk bands like Orange Juice, Television Personalities and, most popularly, The Smiths, who shared jangly electric guitars and yearning pop melodies despite individually drawing from other influences like funk, soul and psych rock. British music magazine \u003ci>NME\u003c/i> captured these sounds on its 1981 cassette compilation \u003cb>C81\u003c/b>, and, five years later, \u003cb>C86\u003c/b> celebrated equally influential groups like The Pastels, The Wedding Present and Primal Scream. Indie pop has since been referred to by many as, perhaps inaccurately, “the C86 sound.” In the United States, independent labels like K Records and Slumberland emerged to foster and develop domestic stripped-down pop and in the years since, countless bands and labels have carried the indie pop torch worldwide.\u003c/p>\n\u003cp>The first \u003cb>Popfest\u003c/b> was held in New York City in 1995, a one day festival celebrating the global indie pop scene. This year marks San Francisco’s fifth installment, and features a diverse lineup including some of the city’s latest crop of talented indie artists. Local highlights include Still Flyin’, whose debut full length \u003cb>Never Gonna Touch The Ground\u003c/b> creates party-starting danceable songs with a dozen-plus members who incorporate elements of reggae and world music. Magic Bullets, another San Francisco band, drew more closely from post-punk on their debut \u003cb>a CHILD but in life yet a DOCTOR in love\u003c/b>, but the band’s recent \u003cb>Times For Romance\u003c/b> EP benefits from a shift to more fleshed-out and textured pop-rock.\u003c/p>\n\u003cp>On the international front, \u003cb>Popfest\u003c/b> features three bands from Sweden, including performances by Suburban Kids with Biblical Names and Pelle Carlberg. The Suburban Kids excel at giddy, ubercatchy songs and may be best known in the states for being featured in a Prius commercial. They’ve got a new EP, \u003cb>#4\u003c/b>, out now and a new full length expected later this year. Mr. Carlberg’s songs are similarly infectious, but couched in an often dark wit as he tackles topics ranging from relationships (see “Clever Girls Like Clever Boys Much More Than Clever Boys Like Clever Girls” and “I Love You, You Imbecile”) to small moments like feeling old after taking a quiz on Facebook.\u003c/p>\n\u003cp>It’s the Suburban Kids’ first SF show, and some of the performances by the festival’s other big names also have special significance. For Toronto’s The Hidden Cameras, its bandleader Joel Gibb’s first solo performance, a departure from the band’s several albums of layered chamber folk-pop. The band recently completed its first work in three years, titled \u003cb>Origin: Orphan\u003c/b>, which does not yet have a release date. Cult favorites Tullycraft recently announced that they will soon take an indefinite hiatus from live performances. The band has long excelled at driving, understated anthems, including the indie-pop-celebrating 2002 track “Twee,” whose lyrics read like a laundry list of the genre’s high points.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All told, the 2009 Popfest offers a number of intriguing potential highlights. With most shows featuring five or six bands, it’s a chance to check out some of the up-and-comers and leaders in this thriving global scene.\u003c/p>\n\u003cp>The \u003cb>San Francisco Popfest 2009\u003c/b> runs May 21-25. For \u003ca href=\"http://www.sfpopfest.com\">tickets and information\u003c/a> visit SFPopFest.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Memorial Day weekend brings the Bay Area the \u003cb>2009 San Francisco Popfest\u003c/b>, a series of concerts showcasing over thirty international indie pop bands performing over four days and nights at various SF venues. The festival’s rich list of bands offers a broad taste of indie pop in 2009, a genre that has maintained a fervent cult for over two decades.\u003c/p>\n\u003cp>Unlike an overly expansive and therefore meaningless categorization like “indie rock,” indie pop is rooted in a common set of influences which continue to inform the genre’s musical identity and DIY approach today. Those commonalities begin with early 1980s British pop-rock and post-punk bands like Orange Juice, Television Personalities and, most popularly, The Smiths, who shared jangly electric guitars and yearning pop melodies despite individually drawing from other influences like funk, soul and psych rock. British music magazine \u003ci>NME\u003c/i> captured these sounds on its 1981 cassette compilation \u003cb>C81\u003c/b>, and, five years later, \u003cb>C86\u003c/b> celebrated equally influential groups like The Pastels, The Wedding Present and Primal Scream. Indie pop has since been referred to by many as, perhaps inaccurately, “the C86 sound.” In the United States, independent labels like K Records and Slumberland emerged to foster and develop domestic stripped-down pop and in the years since, countless bands and labels have carried the indie pop torch worldwide.\u003c/p>\n\u003cp>The first \u003cb>Popfest\u003c/b> was held in New York City in 1995, a one day festival celebrating the global indie pop scene. This year marks San Francisco’s fifth installment, and features a diverse lineup including some of the city’s latest crop of talented indie artists. Local highlights include Still Flyin’, whose debut full length \u003cb>Never Gonna Touch The Ground\u003c/b> creates party-starting danceable songs with a dozen-plus members who incorporate elements of reggae and world music. Magic Bullets, another San Francisco band, drew more closely from post-punk on their debut \u003cb>a CHILD but in life yet a DOCTOR in love\u003c/b>, but the band’s recent \u003cb>Times For Romance\u003c/b> EP benefits from a shift to more fleshed-out and textured pop-rock.\u003c/p>\n\u003cp>On the international front, \u003cb>Popfest\u003c/b> features three bands from Sweden, including performances by Suburban Kids with Biblical Names and Pelle Carlberg. The Suburban Kids excel at giddy, ubercatchy songs and may be best known in the states for being featured in a Prius commercial. They’ve got a new EP, \u003cb>#4\u003c/b>, out now and a new full length expected later this year. Mr. Carlberg’s songs are similarly infectious, but couched in an often dark wit as he tackles topics ranging from relationships (see “Clever Girls Like Clever Boys Much More Than Clever Boys Like Clever Girls” and “I Love You, You Imbecile”) to small moments like feeling old after taking a quiz on Facebook.\u003c/p>\n\u003cp>It’s the Suburban Kids’ first SF show, and some of the performances by the festival’s other big names also have special significance. For Toronto’s The Hidden Cameras, its bandleader Joel Gibb’s first solo performance, a departure from the band’s several albums of layered chamber folk-pop. The band recently completed its first work in three years, titled \u003cb>Origin: Orphan\u003c/b>, which does not yet have a release date. Cult favorites Tullycraft recently announced that they will soon take an indefinite hiatus from live performances. The band has long excelled at driving, understated anthems, including the indie-pop-celebrating 2002 track “Twee,” whose lyrics read like a laundry list of the genre’s high points.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All told, the 2009 Popfest offers a number of intriguing potential highlights. With most shows featuring five or six bands, it’s a chance to check out some of the up-and-comers and leaders in this thriving global scene.\u003c/p>\n\u003cp>The \u003cb>San Francisco Popfest 2009\u003c/b> runs May 21-25. For \u003ca href=\"http://www.sfpopfest.com\">tickets and information\u003c/a> visit SFPopFest.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Released in early 2008, \u003cb>We Brave Bee Stings And All\u003c/b> is the second album by the Virginia-raised/San Francisco-based singer-songwriter Thao Nguyen, but it’s the first with her band The Get Down Stay Down and the first for esteemed label Kill Rock Stars. The Olympia-based label has a catalog of strong songwriting personalities and Nguyen is no different, releasing a now-much-acclaimed album that showcases wit and sadness throughout eleven compelling tracks.\u003c/p>\n\u003cp>As with most of the great rock music in history, emotional strife is central to many of Thao’s song-stories, delivered with a unique voice that can project strength and resignation with equal cool. That voice guides the listener through a set of pieces blending indirect narratives with raw self-aware expressions. “Fear And Convenience” begins with a mix of those qualities, as the singer tells us, “I have seen fear and convenience/I have never glimpsed a romance/All my riches in the company van/I drove much faster than the rain.” It’s an endearing blend that makes the tales somewhat immediate while leaving much to interpretation.\u003c/p>\n\u003cp>\u003cb>We Brave Bee Stings…\u003c/b> was produced by Tucker Martine, whose resume includes a diverse array of groups like The Decemberists, Sufjan Stevens, Jesse Sykes and Laura Veirs. Martine’s also the drummer in Veirs’ band, and, as one might expect from much of his CV, has produced a record that is clean and layered with Nguyen’s voice always at the center, but never its only star. A variety of instruments get to shine over the course of the album; the song “Geography” alone rolls along on a wash of cymbals, funky bass and dueling electric and acoustic guitars, with a catchy organ line selling the groove in the chorus. Having unpacked much of the song here, it should sound like a chaotic affair, but the layers all blend seamlessly.\u003c/p>\n\u003cp>One song later, on “Feet Asleep,” the band ups the ante with piano, banjo, brass and woodwinds providing a swelling old-timey feel before everything halts and it’s just vocals and handclaps carrying the song out. That break — slightly jarring — reminds the listener that although Thao is adept at being a bandleader, and The Get Down Stay Down prove themselves a sharp band throughout, it’s her lyrical and vocal prowess that unites everything despite the varied instrumentation.\u003c/p>\n\u003cp>Nguyen has performed alongside acts with a wide variety of sounds and little audience overlap, although one is curious how fans of Xiu Xiu’s damaged rock would respond to the sweeter sounds of Rilo Kiley on a shared bill (and vice versa). Those diverse live pairings underscore the balance Thao manages between two competing roles, the nervy singer-songwriter and the catchy folk-pop bandleader. On the album, I’m inclined to say the latter wins, although I found the former’s intensity and natural charisma most appealing when I caught the group live in March. Admittedly, it’s difficult to say whether a more frenzied sound would benefit the songs’ arrangements, which coat some dark lyrics in a sweetness well worth consuming. Or, as Thao puts it on “Bag of Hammers:” “And as sharp as I sting, as sharp as I sing/It still soothes you, doesn’t it?/Like a lick of ice cream”.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Released in early 2008, \u003cb>We Brave Bee Stings And All\u003c/b> is the second album by the Virginia-raised/San Francisco-based singer-songwriter Thao Nguyen, but it’s the first with her band The Get Down Stay Down and the first for esteemed label Kill Rock Stars. The Olympia-based label has a catalog of strong songwriting personalities and Nguyen is no different, releasing a now-much-acclaimed album that showcases wit and sadness throughout eleven compelling tracks.\u003c/p>\n\u003cp>As with most of the great rock music in history, emotional strife is central to many of Thao’s song-stories, delivered with a unique voice that can project strength and resignation with equal cool. That voice guides the listener through a set of pieces blending indirect narratives with raw self-aware expressions. “Fear And Convenience” begins with a mix of those qualities, as the singer tells us, “I have seen fear and convenience/I have never glimpsed a romance/All my riches in the company van/I drove much faster than the rain.” It’s an endearing blend that makes the tales somewhat immediate while leaving much to interpretation.\u003c/p>\n\u003cp>\u003cb>We Brave Bee Stings…\u003c/b> was produced by Tucker Martine, whose resume includes a diverse array of groups like The Decemberists, Sufjan Stevens, Jesse Sykes and Laura Veirs. Martine’s also the drummer in Veirs’ band, and, as one might expect from much of his CV, has produced a record that is clean and layered with Nguyen’s voice always at the center, but never its only star. A variety of instruments get to shine over the course of the album; the song “Geography” alone rolls along on a wash of cymbals, funky bass and dueling electric and acoustic guitars, with a catchy organ line selling the groove in the chorus. Having unpacked much of the song here, it should sound like a chaotic affair, but the layers all blend seamlessly.\u003c/p>\n\u003cp>One song later, on “Feet Asleep,” the band ups the ante with piano, banjo, brass and woodwinds providing a swelling old-timey feel before everything halts and it’s just vocals and handclaps carrying the song out. That break — slightly jarring — reminds the listener that although Thao is adept at being a bandleader, and The Get Down Stay Down prove themselves a sharp band throughout, it’s her lyrical and vocal prowess that unites everything despite the varied instrumentation.\u003c/p>\n\u003cp>Nguyen has performed alongside acts with a wide variety of sounds and little audience overlap, although one is curious how fans of Xiu Xiu’s damaged rock would respond to the sweeter sounds of Rilo Kiley on a shared bill (and vice versa). Those diverse live pairings underscore the balance Thao manages between two competing roles, the nervy singer-songwriter and the catchy folk-pop bandleader. On the album, I’m inclined to say the latter wins, although I found the former’s intensity and natural charisma most appealing when I caught the group live in March. Admittedly, it’s difficult to say whether a more frenzied sound would benefit the songs’ arrangements, which coat some dark lyrics in a sweetness well worth consuming. Or, as Thao puts it on “Bag of Hammers:” “And as sharp as I sting, as sharp as I sing/It still soothes you, doesn’t it?/Like a lick of ice cream”.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although the accusation “sophomore slump” is often unfair, and never truly describes what’s happening in a less energetic second album, it \u003ci>does\u003c/i> point to a curiously consistent phenomenon. I’m hesitant to apply it to the Invisible Cities’ second album, \u003cb>Houses Shine Like Teeth\u003c/b>, but if I do, maybe it’ll help illuminate some of the dynamics in this messy, charged, and puzzling collection.\u003c/p>\n\u003cp>Their first, \u003cb>Watertown\u003c/b>, was straightforward: each song a compact burst of mood and melody; the whole exemplifying the band’s considerable range. It was the perfect first album: it sounded like the band sounds, it advocated for your interest in them, it was exactly what you want in hand when trying to woo new audiences.\u003c/p>\n\u003cp>\u003cb>Houses\u003c/b> comes five years later, so it’s not suffering from the lack of time that causes weak second albums; yet it still feels like a random collection somewhat hurried together. The most accessible songs, falling in the first half of the 15 tracks, still demonstrate Han and Sadie’s songwriting chops in their confident melodies and changes. But the import of each is somehow muddied: emotion and mood aren’t clearly communicated; quirky and confusing lyrics tease, but don’t help. Somehow, the music obscures, rather than explicates, its own sound.\u003c/p>\n\u003cp>But I don’t think they’ve given themselves enough rope to hang themselves with, either (the other sophomore slump rationalization). The songs are tightly produced, and there’s little self-indulgence here. Instead, the muddiness seems churned up by the conceptualization of the songs themselves. The artists seem to want to push their basic song structure farther than the typical song wants to be pushed. Yet this yields as much ambiguity as complexity.\u003c/p>\n\u003cp>They appear to recognize this in the second half, where the tracks depart somewhat from traditional structure and abandon strict accessibility. Starting with “Oh Drone” — a friendly, Velvet Undergroundish nod-off without the heroin — the pieces start playing with feedback, repetition, wall-of-sound effects, or combinations. But again, not enough rope: only one of these “experiments” breaches the five-minute mark, and they all keep a retaining wall. Nothing is overwhelmed by floods of anything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And this may be the problem. \u003cb>Watertown\u003c/b> was characterized by tightness and control. The Cities’ instinct to let go of the benefits of high structure is sound; you can’t evolve without creating a lot of evolutionary loose ends. But they’re still unwilling to let go of that tight control: if a song must experiment, it will experiment \u003ci>well\u003c/i>; if a song must be dissonant, it will be \u003ci>stringently\u003c/i> dissonant. I don’t mean to say that they must be onanistic, long-winded, or sloppy in order to progress. But they do have to “let go” in some way that they haven’t quite managed to in \u003cb>Houses Shine Like Teeth\u003c/b>.\u003c/p>\n\u003cp>Still, once the third, fourth and fifth albums are in (let them not each take five years!), the platinum records on the wall and their wikipedia page full of obviously fan-written glow, I think \u003cb>Houses\u003c/b> will stand as a transition from a satisfying quirky pop-rock phase into something amazing. Out of context it is eminently listenable, and no one will have any difficulty finding a favorite track, although everyone’s favorite will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Houses Shine Like Teeth\u003c/b> is available on the \u003ca href=\"http://www.theinvisiblecities.com/houses-shine-like-teeth-get-the-album/\" target=\"offsite\" rel=\"noopener\">band’s website store\u003c/a> in download or CD form, starting April 15. The first 500 downloaders get the album for free (!) and regardless of when and how you buy, if you purchase it directly from the band, you’ll get a bonus downloadable mixtape of songs from the band’s favorite indie artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And this may be the problem. \u003cb>Watertown\u003c/b> was characterized by tightness and control. The Cities’ instinct to let go of the benefits of high structure is sound; you can’t evolve without creating a lot of evolutionary loose ends. But they’re still unwilling to let go of that tight control: if a song must experiment, it will experiment \u003ci>well\u003c/i>; if a song must be dissonant, it will be \u003ci>stringently\u003c/i> dissonant. I don’t mean to say that they must be onanistic, long-winded, or sloppy in order to progress. But they do have to “let go” in some way that they haven’t quite managed to in \u003cb>Houses Shine Like Teeth\u003c/b>.\u003c/p>\n\u003cp>Still, once the third, fourth and fifth albums are in (let them not each take five years!), the platinum records on the wall and their wikipedia page full of obviously fan-written glow, I think \u003cb>Houses\u003c/b> will stand as a transition from a satisfying quirky pop-rock phase into something amazing. Out of context it is eminently listenable, and no one will have any difficulty finding a favorite track, although everyone’s favorite will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Houses Shine Like Teeth\u003c/b> is available on the \u003ca href=\"http://www.theinvisiblecities.com/houses-shine-like-teeth-get-the-album/\" target=\"offsite\" rel=\"noopener\">band’s website store\u003c/a> in download or CD form, starting April 15. The first 500 downloaders get the album for free (!) and regardless of when and how you buy, if you purchase it directly from the band, you’ll get a bonus downloadable mixtape of songs from the band’s favorite indie artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Since I’m already the greatest artist in the Universe, we don’t really have to go through the hassle of recording an album. It seems like a lot of f***ing work,” states a list of ideas on William Powhida’s \u003cb>Rock Wall\u003c/b>, a painted mock message board full of notes related to a fictitious band. Powhida’s satirical take on the life of a rocker wasn’t the first artwork in Marx & Zavattero’s \u003cb>I Want You To Want Me\u003c/b> exhibit to fondly remind me of \u003ca href=\"http://www.youtube.com/watch?v=QFpOSZIegeg\">The Rocker\u003c/a>.\u003c/p>\n\u003cp>Gold chains, fat laces, and glitter make cameo appearances in the music and fashion-inspired group show featuring artists with rock star status such as Marcel Dzama, Kehinde Wiley, David Hevel, and Libby Black. Black has a talent for making knock-off luxury goods out of paper and hot glue, and her Louis Vuitton amp and Gucci mic stand wrapped up the show’s theme like a high-fashion, rock ‘n’ roll ribbon. The title of the sculpture is a nod to a Broken Social Scene lyric from their song, “Anthems For a 17-Year-Old Girl.”\u003c/p>\n\u003cp>Similar to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=10582\">Hevel’s 2006 exhibit\u003c/a> at the gallery, the opening for \u003cb>I Want You To Want Me\u003c/b> was no stuffy affair. Five-hundred people showed up and ’80s dance troupe \u003ca href=\"http://www.facebook.com/pages/Tekniq/49065569694\">Tekniq\u003c/a> performed, leaving behind cards signed with their stage names, e.g. Sha Bang-Bang and Hunny B. The exhibit is decidedly cross-genre. Along with twenty drawings by Marcel Dzama, you can pick up a record by his band, Albatross Note. Taravat Talepasand spoofed Raymond Pettibon’s Sonic Youth \u003cb>Goo\u003c/b> LP cover with the revised band name, \u003cb>Islam Youth\u003c/b>, and David Hevel paid tribute to Gwen Stefani with a hideously glamorous sculpture incorporating a taxidermy lion mouth stuffed with jewels and fur.\u003c/p>\n\u003cp>James Gobel crafted an intricate felt portrait of a bearded lead singer wearing a Lisa Lisa and the Cult Jam t-shirt, while Tim Bavington assigned colors to musical notes and made striped paintings of specific songs. Collaborators Case Simmons and Andrew Burke’s large digital photo-collage critiquing American culture and over-consumption was supplemented by wireless headphones playing a chaotic soundtrack for the visual, a giant compilation of commodities: bears, boats, celebrities, roller coasters, googly-eyed dogs, and so on. Simmons makes the art and Burke makes the audio, both glean material from the Interweb. Viewing it as a game, you could spend hours trying to match sounds with pictures in their interactive piece titled \u003cb>You Can Live Forever in Paradise on Earth\u003c/b>.\u003c/p>\n\u003cp>The gallery represents several of the artists in the exhibit, which might be considered a greatest hits mix of Heather Marx and Steve Zavattero’s tastes in art. They obviously know how to rock. Get in the mood for the show by loading your iPod with the aforementioned bands. It’s time to jam.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I Want You to Want Me\u003c/b> is on view through May 16, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Since I’m already the greatest artist in the Universe, we don’t really have to go through the hassle of recording an album. It seems like a lot of f***ing work,” states a list of ideas on William Powhida’s \u003cb>Rock Wall\u003c/b>, a painted mock message board full of notes related to a fictitious band. Powhida’s satirical take on the life of a rocker wasn’t the first artwork in Marx & Zavattero’s \u003cb>I Want You To Want Me\u003c/b> exhibit to fondly remind me of \u003ca href=\"http://www.youtube.com/watch?v=QFpOSZIegeg\">The Rocker\u003c/a>.\u003c/p>\n\u003cp>Gold chains, fat laces, and glitter make cameo appearances in the music and fashion-inspired group show featuring artists with rock star status such as Marcel Dzama, Kehinde Wiley, David Hevel, and Libby Black. Black has a talent for making knock-off luxury goods out of paper and hot glue, and her Louis Vuitton amp and Gucci mic stand wrapped up the show’s theme like a high-fashion, rock ‘n’ roll ribbon. The title of the sculpture is a nod to a Broken Social Scene lyric from their song, “Anthems For a 17-Year-Old Girl.”\u003c/p>\n\u003cp>Similar to \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=10582\">Hevel’s 2006 exhibit\u003c/a> at the gallery, the opening for \u003cb>I Want You To Want Me\u003c/b> was no stuffy affair. Five-hundred people showed up and ’80s dance troupe \u003ca href=\"http://www.facebook.com/pages/Tekniq/49065569694\">Tekniq\u003c/a> performed, leaving behind cards signed with their stage names, e.g. Sha Bang-Bang and Hunny B. The exhibit is decidedly cross-genre. Along with twenty drawings by Marcel Dzama, you can pick up a record by his band, Albatross Note. Taravat Talepasand spoofed Raymond Pettibon’s Sonic Youth \u003cb>Goo\u003c/b> LP cover with the revised band name, \u003cb>Islam Youth\u003c/b>, and David Hevel paid tribute to Gwen Stefani with a hideously glamorous sculpture incorporating a taxidermy lion mouth stuffed with jewels and fur.\u003c/p>\n\u003cp>James Gobel crafted an intricate felt portrait of a bearded lead singer wearing a Lisa Lisa and the Cult Jam t-shirt, while Tim Bavington assigned colors to musical notes and made striped paintings of specific songs. Collaborators Case Simmons and Andrew Burke’s large digital photo-collage critiquing American culture and over-consumption was supplemented by wireless headphones playing a chaotic soundtrack for the visual, a giant compilation of commodities: bears, boats, celebrities, roller coasters, googly-eyed dogs, and so on. Simmons makes the art and Burke makes the audio, both glean material from the Interweb. Viewing it as a game, you could spend hours trying to match sounds with pictures in their interactive piece titled \u003cb>You Can Live Forever in Paradise on Earth\u003c/b>.\u003c/p>\n\u003cp>The gallery represents several of the artists in the exhibit, which might be considered a greatest hits mix of Heather Marx and Steve Zavattero’s tastes in art. They obviously know how to rock. Get in the mood for the show by loading your iPod with the aforementioned bands. It’s time to jam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This special expanded edition of the Noise Pop New Music Podcast takes you through each day of music from the 2009 Noise Pop Festival, that happened February 24th through March 1st, all around the city of San Francisco. In this episode we’ll hear music from Antony And The Johnsons, The Submarines, Goblin Cock, Themselves, as well as countless others that played the festival.\u003c/p>\n\u003cp>\u003cb>Track Listing:\u003c/b>\u003cbr>“Epilepsy Is Dancing” by Antony and the Johnsons\u003cbr>“Lock And Key” by Lilofee\u003cbr>“Trouble (Lyndsay Buckingham cover)” by French Kicks\u003cbr>“The Fire Breathing Dragon” by El Olio Wolof\u003cbr>“New Age-Embrace” by Sleepy Sun\u003cbr>“Topinambour” by Sean Smith\u003cbr>“We Got A Bleeder” by Goblin Cock\u003cbr>“Polkadots” by Karina Denike\u003cbr>“You Me and The Bourgeoisie” by The Submarines\u003cbr>“Sweaty Magic” by Rafter\u003cbr>“Dying Is Fine” by Ra Ra Riot\u003cbr>“Harmless Lover’s Discourse” by Odawas\u003cbr>“Take To The King” by Themselves\u003cbr>“Yankee In The Chip Shop” by The Matches\u003cbr>“Sleeping Beauty” by Mark Eitzel\u003cbr>“Oh Catamaran” by The Drums\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In a play about a fictional character, an actor has the luxury of being able to bring that character to life on his or her owns terms. The performance we experience is our sole benchmark for who that character is, from their personal ticks to mode of speech. It’s only when we see another actor play the same role that we indulge ourselves in the tawdry business of making comparisons.\u003c/p>\n\u003cp>But when a character in a play is based on a real person, especially one who spent time in the public eye, an actor must navigate the audience’s familiarity with that individual, along with all the prejudices and expectations such familiarity breeds. And if the play about this real person is also a “musical tribute” like \u003cb>Always… Patsy Cline\u003c/b>, the actor playing the lead has an additional, unforgiving burden. She must not only act like our picture of Patsy Cline, but she must also sing pretty darned close to the way we know, for a fact, that Cline actually sang. Judith Miller accomplishes the former, thanks to a generous smile, a period bouffant wig and several cowgirl get ups that look like they were actually stitched by someone’s mother (as Cline’s were). But when it comes to replicating Cline’s voice, I am afraid that Miller is not quite up to the task, and from the first notes out of her mouth, the folks who run San Jose Stage must have known it.\u003c/p>\n\u003cp>As I write this, the colossal unfairness of my dismissal of Miller’s vocal skills and San Jose Stage’s decision to plow ahead anyway reeks. Miller clearly knows this role and is entirely at ease inhabiting her character. In fact, she played it in 1995 at San Jose Stage with the same co-star, Marie Shell, who reprises her part as uber-Cline fan Louise Seger. 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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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