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"content": "\u003cp>The Outside Lands Festival went big and broad, seeking large crowds with disparate bookings across genres and audiences. While its name might be similar, the \u003ca href=\"http://www.onlandfestival.com/\">On Land Festival\u003c/a> is in many ways the exact opposite, offering a weekend sampling of psych, drone and experimental acts in the more intimate venues of Cafe Du Nord and the Swedish American Hall. Curated by the local \u003ca href=\"http://www.rootstrata.com/\">Root Strata\u003c/a> label, who have released albums by many of the featured artists, there’s a rich collection of experimental artists to see, led by some compelling headliners.\u003c/p>\n\u003cp>Portland, Oregon’s Liz Harris is \u003ca href=\"http://www.myspace.com/grouperrepuorg\">Grouper\u003c/a>, headlining the fest’s Sunday night show at the Swedish American Hall. Harris’s third full length, \u003cb>Dragging a Dead Deer Up a Hill\u003c/b>, reached many critics’ Best of 2008 lists. It’s a remarkable mix of sparse guitar and beautiful vocals partially obscured by layers of reverb and fuzz. Things drift in and out of focus throughout, which leads to some wonderfully meditative moments of clarity. Grouper will be joined by \u003ca href=\"http://www.manybreaths.com/\">Christina Carter\u003c/a>, co-founder of the Texas psych-experimental group \u003ca href=\"http://www.kranky.net/artists/charalambides.html\">Charalambides\u003c/a>. Carter’s solo vocals/guitar/effects dynamic may sound familiar, but there’s less pop in Carter’s improvisational approach.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.tarentel.com/\">Tarentel\u003c/a> have performed everything from spacious post-rock compositions to dissonant free-form rock-outs. Reviewers seem to frequently describe the band’s latest double CD on Temporary Residence, \u003cb>Ghetto Beats On The Surface Of The Sun\u003c/b>, as “sprawling;” the two disc set features noise rock explorations and beautiful moments alike. The band headlines Saturday night’s show. Tarentel’s \u003ca href=\"http://www.myspace.com/dannypaulgrody\">Danny Paul Grody\u003c/a> is also pulling double duty at On Land, with a solo performance on Saturday afternoon. Grody’s debut album comes out later this year, and the acoustic instrumental songs he has posted online show how rich a single guitar and atmospheric sounds can feel.\u003c/p>\n\u003cp>The members of SF’s \u003ca href=\"http://www.myspace.com/barnowlband\">Barn Owl\u003c/a> (Sunday night) used to play in metal bands, so it may be a little surprising to hear them join forces to explore droney psychedelia. The duo write compelling guitar melodies interwoven with minimal layers of otherworldly sounds. The results can be surprisingly loud, harnessing the intensity of heavy music while remaining far afield of metal’s brutality. Both Barn Owl and \u003ca href=\"http://www.myspace.com/ducktailss\">Ducktails\u003c/a> (Saturday night) have released LPs on the \u003ca href=\"http://www.notnotfun.com\">Not Not Fun\u003c/a> label. While there’s a cinematic feel to both bands, the latter’s work aims for an entirely different aesthetic. Employing electric guitar, synths and drums, Ducktails’ songs percolate with wandering melodies and analog warmth. Even though Ducktails’ Matthew Mondanile is from New Jersey, the music has a strong classically West Coast pop feel.\u003c/p>\n\u003cp>With over twenty diverse acts performing over the weekend, the first On Land Festival has a lot to offer. If you’re experimentally-inclined, it’d be difficult to find a stronger collection of musicians doing creative things with sound and space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The On Land Festival\u003c/b> runs September 18 – 20, 2009 at the Cafe du Nord and Swedish American Hall in San Francisco. For \u003ca href=\"http://www.onlandfestival.com/\">tickets and information\u003c/a>, visit onlandfestival.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Outside Lands Festival went big and broad, seeking large crowds with disparate bookings across genres and audiences. While its name might be similar, the \u003ca href=\"http://www.onlandfestival.com/\">On Land Festival\u003c/a> is in many ways the exact opposite, offering a weekend sampling of psych, drone and experimental acts in the more intimate venues of Cafe Du Nord and the Swedish American Hall. Curated by the local \u003ca href=\"http://www.rootstrata.com/\">Root Strata\u003c/a> label, who have released albums by many of the featured artists, there’s a rich collection of experimental artists to see, led by some compelling headliners.\u003c/p>\n\u003cp>Portland, Oregon’s Liz Harris is \u003ca href=\"http://www.myspace.com/grouperrepuorg\">Grouper\u003c/a>, headlining the fest’s Sunday night show at the Swedish American Hall. Harris’s third full length, \u003cb>Dragging a Dead Deer Up a Hill\u003c/b>, reached many critics’ Best of 2008 lists. It’s a remarkable mix of sparse guitar and beautiful vocals partially obscured by layers of reverb and fuzz. Things drift in and out of focus throughout, which leads to some wonderfully meditative moments of clarity. Grouper will be joined by \u003ca href=\"http://www.manybreaths.com/\">Christina Carter\u003c/a>, co-founder of the Texas psych-experimental group \u003ca href=\"http://www.kranky.net/artists/charalambides.html\">Charalambides\u003c/a>. Carter’s solo vocals/guitar/effects dynamic may sound familiar, but there’s less pop in Carter’s improvisational approach.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.tarentel.com/\">Tarentel\u003c/a> have performed everything from spacious post-rock compositions to dissonant free-form rock-outs. Reviewers seem to frequently describe the band’s latest double CD on Temporary Residence, \u003cb>Ghetto Beats On The Surface Of The Sun\u003c/b>, as “sprawling;” the two disc set features noise rock explorations and beautiful moments alike. The band headlines Saturday night’s show. Tarentel’s \u003ca href=\"http://www.myspace.com/dannypaulgrody\">Danny Paul Grody\u003c/a> is also pulling double duty at On Land, with a solo performance on Saturday afternoon. Grody’s debut album comes out later this year, and the acoustic instrumental songs he has posted online show how rich a single guitar and atmospheric sounds can feel.\u003c/p>\n\u003cp>The members of SF’s \u003ca href=\"http://www.myspace.com/barnowlband\">Barn Owl\u003c/a> (Sunday night) used to play in metal bands, so it may be a little surprising to hear them join forces to explore droney psychedelia. The duo write compelling guitar melodies interwoven with minimal layers of otherworldly sounds. The results can be surprisingly loud, harnessing the intensity of heavy music while remaining far afield of metal’s brutality. Both Barn Owl and \u003ca href=\"http://www.myspace.com/ducktailss\">Ducktails\u003c/a> (Saturday night) have released LPs on the \u003ca href=\"http://www.notnotfun.com\">Not Not Fun\u003c/a> label. While there’s a cinematic feel to both bands, the latter’s work aims for an entirely different aesthetic. Employing electric guitar, synths and drums, Ducktails’ songs percolate with wandering melodies and analog warmth. Even though Ducktails’ Matthew Mondanile is from New Jersey, the music has a strong classically West Coast pop feel.\u003c/p>\n\u003cp>With over twenty diverse acts performing over the weekend, the first On Land Festival has a lot to offer. If you’re experimentally-inclined, it’d be difficult to find a stronger collection of musicians doing creative things with sound and space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Even though the summer festival/touring season has quieted down, September offers a bunch of amazing concerts in the Bay Area. Here are sneak peeks at some of the most enticing.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cassmccombs\">Cass McCombs\u003c/a> and \u003ca href=\"http://www.myspace.com/thepapercuts\">Papercuts\u003c/a> co-headline a night of great songwriters at the \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a> on September 9th. McCombs’ latest, \u003cb>Catacombs\u003c/b>, offers both lyrical folk rock and more uptempo songs like “Dreams Come True Girl,” a work closer to the warm ’60s-oriented analog of Jason Quever’s Papercuts.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-5l8lqNakPI&hl=en&fs=1&]\u003c/p>\n\u003cp>Other shows worth checking out:\u003c/p>\n\u003cp>– With a new EP out this month, one might expect \u003ca href=\"http://www.myspace.com/birdmonster\">Birdmonster\u003c/a> to be throwing all of their weight behind a big release-focused show. Instead, they’re giving back with a benefit performance for the Potrero Hill Public Library. The show’s on Saturday, September 26th at \u003ca href=\"http://www.bottomofthehill.com\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local hero \u003ca href=\"http://en.wikipedia.org/wiki/Jonathan_Richman\">Jonathan Richman\u003c/a> holds a four-night residency at the \u003ca href=\"http://www.makeoutroom.com\">Make-Out Room\u003c/a> from Sunday, September 20th through Wednesday the 23rd. His last album \u003cb>Because Her Beauty Is Raw and Wild\u003c/b> indicated that his songwriting remains fun and quirky, and he’s got a deep catalog of great songs from which to draw.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though the summer festival/touring season has quieted down, September offers a bunch of amazing concerts in the Bay Area. Here are sneak peeks at some of the most enticing.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cassmccombs\">Cass McCombs\u003c/a> and \u003ca href=\"http://www.myspace.com/thepapercuts\">Papercuts\u003c/a> co-headline a night of great songwriters at the \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a> on September 9th. McCombs’ latest, \u003cb>Catacombs\u003c/b>, offers both lyrical folk rock and more uptempo songs like “Dreams Come True Girl,” a work closer to the warm ’60s-oriented analog of Jason Quever’s Papercuts.\u003c/p>\n\u003cp>\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/-5l8lqNakPI'\n title='//www.youtube.com/embed/-5l8lqNakPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Other shows worth checking out:\u003c/p>\n\u003cp>– With a new EP out this month, one might expect \u003ca href=\"http://www.myspace.com/birdmonster\">Birdmonster\u003c/a> to be throwing all of their weight behind a big release-focused show. Instead, they’re giving back with a benefit performance for the Potrero Hill Public Library. The show’s on Saturday, September 26th at \u003ca href=\"http://www.bottomofthehill.com\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local hero \u003ca href=\"http://en.wikipedia.org/wiki/Jonathan_Richman\">Jonathan Richman\u003c/a> holds a four-night residency at the \u003ca href=\"http://www.makeoutroom.com\">Make-Out Room\u003c/a> from Sunday, September 20th through Wednesday the 23rd. His last album \u003cb>Because Her Beauty Is Raw and Wild\u003c/b> indicated that his songwriting remains fun and quirky, and he’s got a deep catalog of great songs from which to draw.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We all know about the well-worn link between smell and memory. One sniff is apparently all it takes to whisk your mind to some moment from the past. Music can spark a similar experience and, because tunes can be recorded, you get to examine the strange tricks your brain plays on you in ways you can’t with a fleeting whiff. Did that cheese \u003ci>really\u003c/i> smell like your best friend’s sweater from elementary school? Who knows (or cares). But do fresh-faced Brooklyn-based lo-fi power pop trio \u003ca href=\"http://www.freewebs.com/viviangirls/\">Vivian Girls\u003c/a> \u003ci>really\u003c/i> sound like my life circa 1991? Well that’s a different matter entirely.\u003c/p>\n\u003cp>Each time I hear the Vivian Girls I’m hurled back to a very specific time and place: I’m in my tiny dorm room during my first year at university, listening to a scratchy copy of \u003ca href=\"http://lightfromadeadstar.org/index.htm\">Lush\u003c/a>‘s debut EP \u003cb>Scar\u003c/b> on 12-inch vinyl. It’s not just that they remind me of that particular record or period of my life; it’s more than that. They \u003ci>transport\u003c/i> me. When I hear them, I’m there in a flash.\u003c/p>\n\u003cp>But here’s the weird part: the Vivian Girls don’t even sound all that much like the Lush record I just mentioned. I know this because I checked. The first thing I did after hearing their self-titled debut last year was go and dig out that same scratchy copy of \u003cb>Scar\u003c/b>. It sounded totally different from how I had remembered it. Sure, there were plenty similarities between the two bands: the slightly atonal shouted vocals buried low in the mix, the distorted guitars, the rumbling, melodic bass. But the Lush record was by turns much harsher and more wispy than I had expected, and certainly nowhere near as close as I had thought to the Vivian Girls’ sound. And then it got even stranger: discovering this made no difference. Even now, hearing the Vivian Girls takes me on the same journey to that record, place, and time. Their new album \u003cb>Everything Goes Wrong\u003c/b> does it too. Why?\u003c/p>\n\u003cp>Well, because memories become distorted over time. Somewhere in my head I’ve confused and combined a bunch of songs, emotions, and ideas into a hybrid memory for that part of my life. And it’s this sound that the Vivian Girls are tapping into. Listening to their latest release, I started hearing loads of other bands and sounds I associate with that time too. “Double Vision” nails \u003ca href=\"http://www.hereisnirvana.com/index2.html\">Nirvana\u003c/a>‘s slacker angst-rock. “Tension” has the shoegazing vocals of early \u003ca href=\"http://www.rideox4.net/\">Ride\u003c/a>. And the off-kilter girl-on-girl harmonies that feature throughout could easily have been lifted from any number of \u003ca href=\"http://en.wikipedia.org/wiki/C86_%28music%29\">C86\u003c/a>-style bands, like \u003ca href=\"http://www.myspace.com/okwhateverfaggots\">Talulah Gosh\u003c/a>, the \u003ca href=\"http://www.myspace.com/shopassistants001\">Shop Assistants\u003c/a>, or even the\u003ca href=\"http://www.myspace.com/thepastelsuk\">Pastels\u003c/a>. It’s as if the Vivian Girls have found my cache of old compilation cassettes and turned them into pure punk-pop gold.\u003c/p>\n\u003cp>Which isn’t to say that they sound like dated throwbacks, because they don’t at all. If they weren’t so young and full of spunky attitude and originality then the whole thing probably wouldn’t work like it does; it would seem too dated and stale. It’s just that somehow they’ve chanced upon a formula that (to my ears) sounds like pure, distilled, wonderful 1991.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Everything Goes Wrong\u003c/b> by Vivian Girls is released September 8, 2009 on \u003ca href=\"http://www.intheredrecords.com\">In the Red\u003c/a> records. The album release party is at the Rickshaw Stop on September 9 and the band will play an acoustic set at Amoeba on September 10. For \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">more information and tickets\u003c/a>, go to rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know about the well-worn link between smell and memory. One sniff is apparently all it takes to whisk your mind to some moment from the past. Music can spark a similar experience and, because tunes can be recorded, you get to examine the strange tricks your brain plays on you in ways you can’t with a fleeting whiff. Did that cheese \u003ci>really\u003c/i> smell like your best friend’s sweater from elementary school? Who knows (or cares). But do fresh-faced Brooklyn-based lo-fi power pop trio \u003ca href=\"http://www.freewebs.com/viviangirls/\">Vivian Girls\u003c/a> \u003ci>really\u003c/i> sound like my life circa 1991? Well that’s a different matter entirely.\u003c/p>\n\u003cp>Each time I hear the Vivian Girls I’m hurled back to a very specific time and place: I’m in my tiny dorm room during my first year at university, listening to a scratchy copy of \u003ca href=\"http://lightfromadeadstar.org/index.htm\">Lush\u003c/a>‘s debut EP \u003cb>Scar\u003c/b> on 12-inch vinyl. It’s not just that they remind me of that particular record or period of my life; it’s more than that. They \u003ci>transport\u003c/i> me. When I hear them, I’m there in a flash.\u003c/p>\n\u003cp>But here’s the weird part: the Vivian Girls don’t even sound all that much like the Lush record I just mentioned. I know this because I checked. The first thing I did after hearing their self-titled debut last year was go and dig out that same scratchy copy of \u003cb>Scar\u003c/b>. It sounded totally different from how I had remembered it. Sure, there were plenty similarities between the two bands: the slightly atonal shouted vocals buried low in the mix, the distorted guitars, the rumbling, melodic bass. But the Lush record was by turns much harsher and more wispy than I had expected, and certainly nowhere near as close as I had thought to the Vivian Girls’ sound. And then it got even stranger: discovering this made no difference. Even now, hearing the Vivian Girls takes me on the same journey to that record, place, and time. Their new album \u003cb>Everything Goes Wrong\u003c/b> does it too. Why?\u003c/p>\n\u003cp>Well, because memories become distorted over time. Somewhere in my head I’ve confused and combined a bunch of songs, emotions, and ideas into a hybrid memory for that part of my life. And it’s this sound that the Vivian Girls are tapping into. Listening to their latest release, I started hearing loads of other bands and sounds I associate with that time too. “Double Vision” nails \u003ca href=\"http://www.hereisnirvana.com/index2.html\">Nirvana\u003c/a>‘s slacker angst-rock. “Tension” has the shoegazing vocals of early \u003ca href=\"http://www.rideox4.net/\">Ride\u003c/a>. And the off-kilter girl-on-girl harmonies that feature throughout could easily have been lifted from any number of \u003ca href=\"http://en.wikipedia.org/wiki/C86_%28music%29\">C86\u003c/a>-style bands, like \u003ca href=\"http://www.myspace.com/okwhateverfaggots\">Talulah Gosh\u003c/a>, the \u003ca href=\"http://www.myspace.com/shopassistants001\">Shop Assistants\u003c/a>, or even the\u003ca href=\"http://www.myspace.com/thepastelsuk\">Pastels\u003c/a>. It’s as if the Vivian Girls have found my cache of old compilation cassettes and turned them into pure punk-pop gold.\u003c/p>\n\u003cp>Which isn’t to say that they sound like dated throwbacks, because they don’t at all. If they weren’t so young and full of spunky attitude and originality then the whole thing probably wouldn’t work like it does; it would seem too dated and stale. It’s just that somehow they’ve chanced upon a formula that (to my ears) sounds like pure, distilled, wonderful 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Here’s an incontrovertible theory for you to agree with: anyone who doesn’t like loud music is OLD and BORING. Of course, I first developed and proposed this subtly nuanced hypothesis when I was a) young and b) incredibly excited by music that involved as much overwrought amplification and obnoxiousness as possible. But even as I’ve grown up (a bit) and matured (a little), I can’t quite bring myself to admit the underlying premise is in any way flawed. Sure, these days I tend to listen to music that’s more muted, understated, and fragile, but I’m also developing an ulcer and a beer gut. Aren’t all these things just so many signs of middle-aged tedium and fast-approaching death?\u003c/p>\n\u003cp>So thank the gods of noise for the arrival of \u003ca href=\"http://www.myspace.com/wavves\" target=\"offsite\" rel=\"noopener\">Wavves\u003c/a> in my life to shake things up a bit. When I first heard their track “So Bored” earlier this year, several questions popped into my blown mind at once: Is it supposed to sound like this? Can I turn it up any louder without my neighbors calling the cops? And what did I do in a previous life to deserve this beautiful experience? Featuring a primitive drumbeat and more crazy feedback and distortion than the comments section of FOXNews.com, it grabbed hold of my inner teenager and refused to let go. “I’m SOOOOOOO bored,” drawls Nathan Williams like a spoiled child, over a tumult that had me reaching for the “screaming wall of noise” section of my well-thumbed rock thesaurus.\u003c/p>\n\u003cp>It’s easily the standout track from their almost-self-titled album \u003cb>Wavvves\u003c/b> (note the third “v”) released back in March. But the rest of the collection doesn’t disappoint either, as long as you feel no fear about tinnitus. “Beach Demon,” with its wonderful, nihilistic chorus of “going nowhere, going nowhere,” sounds like a crappy bootleg of the Ramones being blasted out of a Fisher Price record player way past its recommended volume, but in a good way. The sole ballad (and I’m using the term “ballad” loosely here) “Weed Demon” resurrects the ghosts of Pixies moments past, particularly the creepy bottom-of-the-sea howls that bookend “Where Is My Mind?” And “Gun In The Sun” picks up the fucked-up surf-rock baton from wherever the Jesus and Mary Chain carelessly dropped it sometime in the late eighties.\u003c/p>\n\u003cp>With song titles including enough mentions of “goths” and “demons” to fill a teenage girls’ bookshelf, as well as a couple of “kids” and “punx” thrown in for good measure, it’s easy to see the age demographic Wavves are aiming for. It makes an old fart like me nostalgic for a time when my world was also ruled by antisocial music and parental curfews. Of course, things have changed a bit since then, particularly the invention of MP3s and me feeling less guilty about skipping Wavves’ more “experimental” moments. Then again, the album is only 36 minutes long without cheating, so there really isn’t much time for anyone’s patience to be tested too much. Even if it makes your stereo sound like it’s broken, it isn’t going to actually break your stereo. Not unless you turn it up REALLY LOUD.\u003c/p>\n\u003cp>\u003cb>Wavvves\u003c/b> is out now on \u003ca href=\"http://www.fatpossum.com/index.php\" target=\"offsite\" rel=\"noopener\">Fat Possum Records\u003c/a>. Wavves play the Rickshaw Stop in San Francisco on September 6. For tickets and information, visit \u003ca href=\"http://rickshawstop.com/\" target=\"offsite\" rel=\"noopener\">rickshawstop.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s an incontrovertible theory for you to agree with: anyone who doesn’t like loud music is OLD and BORING. Of course, I first developed and proposed this subtly nuanced hypothesis when I was a) young and b) incredibly excited by music that involved as much overwrought amplification and obnoxiousness as possible. But even as I’ve grown up (a bit) and matured (a little), I can’t quite bring myself to admit the underlying premise is in any way flawed. Sure, these days I tend to listen to music that’s more muted, understated, and fragile, but I’m also developing an ulcer and a beer gut. Aren’t all these things just so many signs of middle-aged tedium and fast-approaching death?\u003c/p>\n\u003cp>So thank the gods of noise for the arrival of \u003ca href=\"http://www.myspace.com/wavves\" target=\"offsite\" rel=\"noopener\">Wavves\u003c/a> in my life to shake things up a bit. When I first heard their track “So Bored” earlier this year, several questions popped into my blown mind at once: Is it supposed to sound like this? Can I turn it up any louder without my neighbors calling the cops? And what did I do in a previous life to deserve this beautiful experience? Featuring a primitive drumbeat and more crazy feedback and distortion than the comments section of FOXNews.com, it grabbed hold of my inner teenager and refused to let go. “I’m SOOOOOOO bored,” drawls Nathan Williams like a spoiled child, over a tumult that had me reaching for the “screaming wall of noise” section of my well-thumbed rock thesaurus.\u003c/p>\n\u003cp>It’s easily the standout track from their almost-self-titled album \u003cb>Wavvves\u003c/b> (note the third “v”) released back in March. But the rest of the collection doesn’t disappoint either, as long as you feel no fear about tinnitus. “Beach Demon,” with its wonderful, nihilistic chorus of “going nowhere, going nowhere,” sounds like a crappy bootleg of the Ramones being blasted out of a Fisher Price record player way past its recommended volume, but in a good way. The sole ballad (and I’m using the term “ballad” loosely here) “Weed Demon” resurrects the ghosts of Pixies moments past, particularly the creepy bottom-of-the-sea howls that bookend “Where Is My Mind?” And “Gun In The Sun” picks up the fucked-up surf-rock baton from wherever the Jesus and Mary Chain carelessly dropped it sometime in the late eighties.\u003c/p>\n\u003cp>With song titles including enough mentions of “goths” and “demons” to fill a teenage girls’ bookshelf, as well as a couple of “kids” and “punx” thrown in for good measure, it’s easy to see the age demographic Wavves are aiming for. It makes an old fart like me nostalgic for a time when my world was also ruled by antisocial music and parental curfews. Of course, things have changed a bit since then, particularly the invention of MP3s and me feeling less guilty about skipping Wavves’ more “experimental” moments. Then again, the album is only 36 minutes long without cheating, so there really isn’t much time for anyone’s patience to be tested too much. Even if it makes your stereo sound like it’s broken, it isn’t going to actually break your stereo. Not unless you turn it up REALLY LOUD.\u003c/p>\n\u003cp>\u003cb>Wavvves\u003c/b> is out now on \u003ca href=\"http://www.fatpossum.com/index.php\" target=\"offsite\" rel=\"noopener\">Fat Possum Records\u003c/a>. Wavves play the Rickshaw Stop in San Francisco on September 6. For tickets and information, visit \u003ca href=\"http://rickshawstop.com/\" target=\"offsite\" rel=\"noopener\">rickshawstop.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Deep in the redwoods on a farm near Mendocino isn’t probably the first place you’d expect to find a two day independent music festival, but the environment’s sure to add a staid ambiance to the Invisible Ocean Festival, taking place on September 5th and 6th. According to the organizers, the fest was created to allow a community of West Coast musicians and artists the opportunity to experience some of their friends’ great music in an intimate environment. True to their goal, there are plenty of excellent bands performing over the two days.\u003c/p>\n\u003cp>I started listening to The Blank Tapes again recently, and now I’m not sure when I’m going to stop. 2007’s \u003cb>Daydreams\u003c/b> is the band’s third album and it’s loaded with catchy melodies that range from tight indie rock-pop to more expansive Deadish country-psych. Matt Adams sings, writes the songs and plays almost every instrument on Blank Tapes records, but his musical tastes are broad and the album is better for it; as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22606\" target=\"offsite\" rel=\"noopener\">a previous review on KQED noted\u003c/a>, it’s easy to discover new favorite songs on each subsequent spin. My two most recent Blank Tapes discoveries show Adams’ respect and support for his peers: \u003cb>Friends and Favorites\u003c/b>, a compelling covers album, and \u003cb>Universal Western Attractions\u003c/b>, a compilation he curated celebrating local talents. Both can be downloaded for free at \u003ca href=\"http://www.fuzzhouse.com/Recordings/\" target=\"offsite\" rel=\"noopener\">Fuzzhouse.com\u003c/a>.\u003c/p>\n\u003cp>San Jose’s The Mumlers release their new album just a few days after Invisible Ocean. \u003cb>Don’t Throw Me Away\u003c/b>, out September 8th on Galaxia Records, is soaked in incredibly authentic-feeling soul, particularly surprising considering that the group is a sextet of young musicians from San Jose. It’s difficult not to consider the new album a great leap forward for the band, not because their debut \u003cb>Thickets & Stitches\u003c/b> was weak (it wasn’t), but because they’ve managed to channel what were a loose set of blues, folk and rock sounds into a raw set of heartfelt songs. As one might expect, they’re also a killer live band.\u003c/p>\n\u003cp>The Invisible Ocean festival isn’t all local groups, though, as Anacortes, Washington’s Karl Blau is heading down for a performance. Blau is a prolific singer-songwriter whose experimental compositions frequently incorporate indie folk as one of a number of varied touchstones. \u003cb>On Zebra\u003c/b>, which comes out on K Records on October 6th, he finds inspiration in African music and music of African descent. Blau’s genre-mixing sounds work in part because he’s a formidable producer, and he recorded \u003cb>Let’s Build A Roof\u003c/b>, the upcoming album from LAKE. The Olympia band play jangly psych-pop with inviting harmonies, and they will be at Invisible Ocean as well.\u003c/p>\n\u003cp>In addition to all of the music, there are two movies being screened over the weekend. Dear & Yonder is a surf movie following the travels of some female professional surfers, while \u003cb>No Deposit No Return Blues\u003c/b> examines the life of cult American psychedelic folk-rock musician Sandy Bull. Add to that camping and communal vegetarian dinners at the farm every night, and it all sounds like a really magical weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Invisible Oceans Festival runs from September 5 through September 6, 2009 in Mendocino. For \u003ca href=\"http://invisible-ocean.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit invisible-ocean.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deep in the redwoods on a farm near Mendocino isn’t probably the first place you’d expect to find a two day independent music festival, but the environment’s sure to add a staid ambiance to the Invisible Ocean Festival, taking place on September 5th and 6th. According to the organizers, the fest was created to allow a community of West Coast musicians and artists the opportunity to experience some of their friends’ great music in an intimate environment. True to their goal, there are plenty of excellent bands performing over the two days.\u003c/p>\n\u003cp>I started listening to The Blank Tapes again recently, and now I’m not sure when I’m going to stop. 2007’s \u003cb>Daydreams\u003c/b> is the band’s third album and it’s loaded with catchy melodies that range from tight indie rock-pop to more expansive Deadish country-psych. Matt Adams sings, writes the songs and plays almost every instrument on Blank Tapes records, but his musical tastes are broad and the album is better for it; as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22606\" target=\"offsite\" rel=\"noopener\">a previous review on KQED noted\u003c/a>, it’s easy to discover new favorite songs on each subsequent spin. My two most recent Blank Tapes discoveries show Adams’ respect and support for his peers: \u003cb>Friends and Favorites\u003c/b>, a compelling covers album, and \u003cb>Universal Western Attractions\u003c/b>, a compilation he curated celebrating local talents. Both can be downloaded for free at \u003ca href=\"http://www.fuzzhouse.com/Recordings/\" target=\"offsite\" rel=\"noopener\">Fuzzhouse.com\u003c/a>.\u003c/p>\n\u003cp>San Jose’s The Mumlers release their new album just a few days after Invisible Ocean. \u003cb>Don’t Throw Me Away\u003c/b>, out September 8th on Galaxia Records, is soaked in incredibly authentic-feeling soul, particularly surprising considering that the group is a sextet of young musicians from San Jose. It’s difficult not to consider the new album a great leap forward for the band, not because their debut \u003cb>Thickets & Stitches\u003c/b> was weak (it wasn’t), but because they’ve managed to channel what were a loose set of blues, folk and rock sounds into a raw set of heartfelt songs. As one might expect, they’re also a killer live band.\u003c/p>\n\u003cp>The Invisible Ocean festival isn’t all local groups, though, as Anacortes, Washington’s Karl Blau is heading down for a performance. Blau is a prolific singer-songwriter whose experimental compositions frequently incorporate indie folk as one of a number of varied touchstones. \u003cb>On Zebra\u003c/b>, which comes out on K Records on October 6th, he finds inspiration in African music and music of African descent. Blau’s genre-mixing sounds work in part because he’s a formidable producer, and he recorded \u003cb>Let’s Build A Roof\u003c/b>, the upcoming album from LAKE. The Olympia band play jangly psych-pop with inviting harmonies, and they will be at Invisible Ocean as well.\u003c/p>\n\u003cp>In addition to all of the music, there are two movies being screened over the weekend. Dear & Yonder is a surf movie following the travels of some female professional surfers, while \u003cb>No Deposit No Return Blues\u003c/b> examines the life of cult American psychedelic folk-rock musician Sandy Bull. Add to that camping and communal vegetarian dinners at the farm every night, and it all sounds like a really magical weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Invisible Oceans Festival runs from September 5 through September 6, 2009 in Mendocino. For \u003ca href=\"http://invisible-ocean.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit invisible-ocean.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There must be something in Sweden’s water. Despite being a relatively small country with a low international profile (IKEA stores notwithstanding), Sweden has given birth to some of pop music’s greatest acts. ABBA, The Cardigans, Jens Lekman, and The Knife, just to name a few. And now there’s one more name to tag onto the list: Sally Shapiro, a pseudonym for singer Sally Shapiro (not her real name) and songwriter/producer Johan Agebjörn.\u003c/p>\n\u003cp>The duo, who are coworkers at an undisclosed day job, have never played a live show and rarely pose for pictures or grant interviews (Shapiro says she would rather pick blueberries). Yet their debut album \u003cb>Disco Romance\u003c/b>, an updated take on ’80s Italo disco in the vein of Glass Candy and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=20083\" target=\"offsite\" rel=\"noopener\">the Chromatics\u003c/a>, managed to pique the interest of a bevy of internet audiophiles and even win over the most difficult of critics, \u003ca href=\"http://pitchfork.com/reviews/albums/9751-disco-romance/\" target=\"offsite\" rel=\"noopener\">Pitchfork\u003c/a>. And now, Sally Shapiro is back with a sophomore album titled \u003cb>My Guilty Pleasure\u003c/b>, which Shapiro says “will hopefully make you fall in love with the person sitting next to you on the bus.” Just imagine: your next boyfriend could very well be that combatant crackhead one seat over on the 38 Geary! Lucky you.\u003c/p>\n\u003cp>Speaking of non-traditional love matches, check out the music video for “Love in July” below. An iceburg stands between a goldfish and the whale he loves. You’ll find yourself rooting for global warming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now picture this: You’re leaving a night club in the early hours and walking home in the fog. You’re wistful, a bit sedated, and brimming with love. And there’s a buzz in your ear left over from the loud speakers playing pop hits on the dance floor. Sally Shapiro’s music is kind of like that buzz, a mix of echoed synth beats and a candied euphoria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ll be honest though — I didn’t get that impression on my first listen. The set of nine songs initially sounded too similar and a bit hollow. Sally’s weak voice failed to impress and the lyrics often seemed shallow and unintelligible. But something within my bones urged me to give the disc another shot. It was sometime during my second or third listen that the cheesy synthesizers and lo-fi rhythms cracked my pessimistic veneer to reveal my former self, the boy who loved Euro pop with abandon and had to buy another copy of an Ace of Base CD (coincidentally another gang of Swedes) because the original got too scratched. I guess you could say that “I saw the sign and it opened up my mind” (har har).\u003c/p>\n\u003cp>Sally Shapiro’s latest effort has its faults. “Save Your Love” and, oddly enough, the first two singles (“Miracle” and “Love in July”) lack the spark that burns on other tracks (“My Fantasy,” “Let It Show” and “Moonlight Dance”). But, ultimately, \u003cb>My Guilty Pleasure\u003c/b> lives up to its name. It’s the kind of feel-good, bubblegum dance-pop record that you keep for yourself, a pleasure indulged in secret. At least, it starts off that way, but it won’t be long before the guilt dissipates and you share your new love affair with the world. So what if your neighbors question your personal aesthetic or overall taste? You’ll be too busy getting your disco on to care.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Guilty Pleasure\u003c/b> drops August 25, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There must be something in Sweden’s water. Despite being a relatively small country with a low international profile (IKEA stores notwithstanding), Sweden has given birth to some of pop music’s greatest acts. ABBA, The Cardigans, Jens Lekman, and The Knife, just to name a few. And now there’s one more name to tag onto the list: Sally Shapiro, a pseudonym for singer Sally Shapiro (not her real name) and songwriter/producer Johan Agebjörn.\u003c/p>\n\u003cp>The duo, who are coworkers at an undisclosed day job, have never played a live show and rarely pose for pictures or grant interviews (Shapiro says she would rather pick blueberries). Yet their debut album \u003cb>Disco Romance\u003c/b>, an updated take on ’80s Italo disco in the vein of Glass Candy and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=20083\" target=\"offsite\" rel=\"noopener\">the Chromatics\u003c/a>, managed to pique the interest of a bevy of internet audiophiles and even win over the most difficult of critics, \u003ca href=\"http://pitchfork.com/reviews/albums/9751-disco-romance/\" target=\"offsite\" rel=\"noopener\">Pitchfork\u003c/a>. And now, Sally Shapiro is back with a sophomore album titled \u003cb>My Guilty Pleasure\u003c/b>, which Shapiro says “will hopefully make you fall in love with the person sitting next to you on the bus.” Just imagine: your next boyfriend could very well be that combatant crackhead one seat over on the 38 Geary! Lucky you.\u003c/p>\n\u003cp>Speaking of non-traditional love matches, check out the music video for “Love in July” below. An iceburg stands between a goldfish and the whale he loves. You’ll find yourself rooting for global warming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now picture this: You’re leaving a night club in the early hours and walking home in the fog. You’re wistful, a bit sedated, and brimming with love. And there’s a buzz in your ear left over from the loud speakers playing pop hits on the dance floor. Sally Shapiro’s music is kind of like that buzz, a mix of echoed synth beats and a candied euphoria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll be honest though — I didn’t get that impression on my first listen. The set of nine songs initially sounded too similar and a bit hollow. Sally’s weak voice failed to impress and the lyrics often seemed shallow and unintelligible. But something within my bones urged me to give the disc another shot. It was sometime during my second or third listen that the cheesy synthesizers and lo-fi rhythms cracked my pessimistic veneer to reveal my former self, the boy who loved Euro pop with abandon and had to buy another copy of an Ace of Base CD (coincidentally another gang of Swedes) because the original got too scratched. I guess you could say that “I saw the sign and it opened up my mind” (har har).\u003c/p>\n\u003cp>Sally Shapiro’s latest effort has its faults. “Save Your Love” and, oddly enough, the first two singles (“Miracle” and “Love in July”) lack the spark that burns on other tracks (“My Fantasy,” “Let It Show” and “Moonlight Dance”). But, ultimately, \u003cb>My Guilty Pleasure\u003c/b> lives up to its name. It’s the kind of feel-good, bubblegum dance-pop record that you keep for yourself, a pleasure indulged in secret. At least, it starts off that way, but it won’t be long before the guilt dissipates and you share your new love affair with the world. So what if your neighbors question your personal aesthetic or overall taste? You’ll be too busy getting your disco on to care.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Guilty Pleasure\u003c/b> drops August 25, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yerba Buena Center for the Arts has been branching out this summer. There have been \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9935\">sports films\u003c/a>, \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9833\">drag cabaret happy hours\u003c/a>, and \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9241\">artists painting right on the walls\u003c/a>. And there’s music, too. \u003cb>New Frequencies\u003c/b> is Yerba Buena’s first summer music series. Shows in the series pair local and international musicians, and they’ve spanned an impressive range of styles: a garage band, a throat singer, an improvisational world music/jazz ensemble.\u003c/p>\n\u003cp>This week, Argentine star \u003ca href=\"http://www.juanamolina.com/\">Juana Molina\u003c/a> will join local cabaret storyteller \u003ca href=\"http://amyxneuburg.com/\">Amy X Neuburg\u003c/a> in Yerba Buena’s Forum. Molina released her fifth album, \u003cb>Un Dia\u003c/b>, earlier this year. It starts with a shout and a jaunty beat and then swoops between dreamy whispers and poppy chants. She’s already toured in support of the album, so at the Yerba Buena show she’ll play both new and old songs. Her earlier music is softer and slower, but still full of the lush textures she creates with her voice, acoustic guitar, and electronic loops.\u003c/p>\n\u003cp>Amy X Neuburg, from San Francisco, also uses electronic loops in her work, but her songs have sharper edges than Molina’s. While Molina uses loops to create layered sounds, Neuburg is more interested in the story, using loops to build a narrative line instead of a musical spiral. She creates a backdrop with electronic drums and looped vocals then twists her voice from a cackling rumble to operatic heights. At Yerba Buena she’s teaming up with the Cello ChiXtet, a trio of cellists who are regular Neuburg collaborators, to perform a song cycle about the New York subway. The ChiXtet bounces along while Neuburg’s voice soars. When they come together, the cellos and the voice smooth out and blend with each other.\u003c/p>\n\u003cp>Some of the musicians in \u003cb>New Frequencies\u003c/b> have actually been playing in the galleries, responding to specific paintings. This particular show will be in Yerba Buena’s Forum instead. The Forum is known mostly for dance and theater, but \u003cb>New Frequencies\u003c/b> curator Isabel Yrigoyen says she has plans for the series to grow each summer, expanding Yerba Buena’s reputation as a venue for new and experimental music. With the variety of talent and styles she’s pulled in for the inaugural season, it’s an exciting prospect.\u003c/p>\n\u003cp>Juana Molina and Amy X Neuburg perform on August 22, 2009 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9100#molina\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yerba Buena Center for the Arts has been branching out this summer. There have been \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9935\">sports films\u003c/a>, \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9833\">drag cabaret happy hours\u003c/a>, and \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9241\">artists painting right on the walls\u003c/a>. And there’s music, too. \u003cb>New Frequencies\u003c/b> is Yerba Buena’s first summer music series. Shows in the series pair local and international musicians, and they’ve spanned an impressive range of styles: a garage band, a throat singer, an improvisational world music/jazz ensemble.\u003c/p>\n\u003cp>This week, Argentine star \u003ca href=\"http://www.juanamolina.com/\">Juana Molina\u003c/a> will join local cabaret storyteller \u003ca href=\"http://amyxneuburg.com/\">Amy X Neuburg\u003c/a> in Yerba Buena’s Forum. Molina released her fifth album, \u003cb>Un Dia\u003c/b>, earlier this year. It starts with a shout and a jaunty beat and then swoops between dreamy whispers and poppy chants. She’s already toured in support of the album, so at the Yerba Buena show she’ll play both new and old songs. Her earlier music is softer and slower, but still full of the lush textures she creates with her voice, acoustic guitar, and electronic loops.\u003c/p>\n\u003cp>Amy X Neuburg, from San Francisco, also uses electronic loops in her work, but her songs have sharper edges than Molina’s. While Molina uses loops to create layered sounds, Neuburg is more interested in the story, using loops to build a narrative line instead of a musical spiral. She creates a backdrop with electronic drums and looped vocals then twists her voice from a cackling rumble to operatic heights. At Yerba Buena she’s teaming up with the Cello ChiXtet, a trio of cellists who are regular Neuburg collaborators, to perform a song cycle about the New York subway. The ChiXtet bounces along while Neuburg’s voice soars. When they come together, the cellos and the voice smooth out and blend with each other.\u003c/p>\n\u003cp>Some of the musicians in \u003cb>New Frequencies\u003c/b> have actually been playing in the galleries, responding to specific paintings. This particular show will be in Yerba Buena’s Forum instead. The Forum is known mostly for dance and theater, but \u003cb>New Frequencies\u003c/b> curator Isabel Yrigoyen says she has plans for the series to grow each summer, expanding Yerba Buena’s reputation as a venue for new and experimental music. With the variety of talent and styles she’s pulled in for the inaugural season, it’s an exciting prospect.\u003c/p>\n\u003cp>Juana Molina and Amy X Neuburg perform on August 22, 2009 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tickets/production/view.aspx?id=9100#molina\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I love experiencing art in weird places. Unconventional settings challenge our entrenched ideas and opinions, and are normally lots more fun too. Which is why I jumped at the chance to see the \u003ca href=\"http://kronosquartet.org/\">Kronos Quartet\u003c/a> at \u003ca href=\"http://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> in Marin on Sunday, August 16. True, this is a group that’s known for straying far from the traditional confines of classical music, and they’ve made this appearance an annual tradition in recent years. But let’s face it, it’s still pretty unusual to see an internationally-renowned string ensemble play in the beer garden of a rural Californian bar.\u003c/p>\n\u003cp>And it doesn’t get much more rural than this. The Rancho is the focal point of Nicasio mainly in the sense that, without it, there wouldn’t really be much of a town left to give a name to. As you settle down on the lawn behind the bar, drink in hand, surrounded by hills covered with cattle and dry grass, you can’t really escape the fact that this isn’t the sort of place you’d normally see classical music: there are wagon wheels stuck to the walls and a horseshoe pit in the trees behind you, the smell of smoke and barbecued pork drifts in the air, and the audience is dressed in odd combinations of tie-dye, flip-flops, and cowboy hats.\u003c/p>\n\u003cp>It’s not just the clothes that are eccentric in Marin; the weather here has its idiosyncratic moments too. For their performance here last year Kronos had to battle an unseasonal combination of fog and frozen fingers. That experience may have informed some of their musical choices this time round as some of the compositions from the first half of this year’s performance didn’t seem well suited to the sweltering conditions. A couple of the slower pieces wilted a little in the heat, and even the darkly brilliant “Requiem for a Dream Suite” sounded oppressive beneath the full weight of the afternoon sun. But in the only change to the advertised program, the quartet opened with “12/12” by Mexican band \u003ca href=\"http://www.cafetacuba.com.mx/web/\">Café Tacuba\u003c/a>, and its samples of sultry guitar and feverish rhythms seemed a better fit. And \u003ca href=\"http://en.wikipedia.org/wiki/Bryce_Dessner\">Bryce Dessner\u003c/a>‘s “Aheym (Homeward)” just before the interval was bright and flowing, a multilayered treat that reached out to the beauty of the landscape around us.\u003c/p>\n\u003cp>Lengthening shadows greeted a more sensual second half full of influences from the Middle East. Midhat Assem’s Egyptian tango “Ya Habibi Ta’ala” flowed seamlessly into the bazaar sounds of “Evic Taksim” by Turkish composer \u003ca href=\"http://en.wikipedia.org/wiki/Tanburi_Cemil_Bey\">Tanburi Cemil Bey\u003c/a>. Even “Scatter,” a piece written for Kronos by Swedish band \u003ca href=\"http://www.myspace.com/hurdygurdyprototyp\">Hurdy-Gurdy\u003c/a> picked up on that strange instrument’s Persian roots. Serbian composer \u003ca href=\"http://otherminds.org/shtml/Vrebalov.shtml\">Aleksandra Vrebalov\u003c/a>‘s “…hold me, neighbor, in this storm…” contained enough eastern flavor to continue the theme, before the quartet’s first encore, a traditional Lebanese song called “Wa Habibi,” provided a perfect lament for the disappearing sun. Then Kronos closed the show with an outstanding performance of “Flugufrelsarinn” by Icelandic band \u003ca href=\"http://www.sigur-ros.co.uk/\">Sigur Rós\u003c/a>, accompanied by the calling of crows coming home to roost on nearby trees.\u003c/p>\n\u003cp>The unusual surroundings contributed to the performance in many other ways. For example, the ambient throb of big Harleys from the bar’s parking lot combined surprisingly well with the music on several occasions. Meanwhile, the sound of ice rattling in people’s drinks, the sight of a young girl dancing unselfconsciously to the side of the stage, and the odd piece of vaguely misplaced applause here and there were all welcome indicators that this wasn’t a traditional classical music venue. Because, most of all, this concert was a reminder that in the open air, with the cool grass between your toes, your mind has much more space to wander.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rancho Nicasio’s 2009 BBQs on the Lawn season continues until September 7, 2009. For more information, visit \u003ca href=\"http://www.ranchonicasio.com/\">ranchonicasio.com\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love experiencing art in weird places. Unconventional settings challenge our entrenched ideas and opinions, and are normally lots more fun too. Which is why I jumped at the chance to see the \u003ca href=\"http://kronosquartet.org/\">Kronos Quartet\u003c/a> at \u003ca href=\"http://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> in Marin on Sunday, August 16. True, this is a group that’s known for straying far from the traditional confines of classical music, and they’ve made this appearance an annual tradition in recent years. But let’s face it, it’s still pretty unusual to see an internationally-renowned string ensemble play in the beer garden of a rural Californian bar.\u003c/p>\n\u003cp>And it doesn’t get much more rural than this. The Rancho is the focal point of Nicasio mainly in the sense that, without it, there wouldn’t really be much of a town left to give a name to. As you settle down on the lawn behind the bar, drink in hand, surrounded by hills covered with cattle and dry grass, you can’t really escape the fact that this isn’t the sort of place you’d normally see classical music: there are wagon wheels stuck to the walls and a horseshoe pit in the trees behind you, the smell of smoke and barbecued pork drifts in the air, and the audience is dressed in odd combinations of tie-dye, flip-flops, and cowboy hats.\u003c/p>\n\u003cp>It’s not just the clothes that are eccentric in Marin; the weather here has its idiosyncratic moments too. For their performance here last year Kronos had to battle an unseasonal combination of fog and frozen fingers. That experience may have informed some of their musical choices this time round as some of the compositions from the first half of this year’s performance didn’t seem well suited to the sweltering conditions. A couple of the slower pieces wilted a little in the heat, and even the darkly brilliant “Requiem for a Dream Suite” sounded oppressive beneath the full weight of the afternoon sun. But in the only change to the advertised program, the quartet opened with “12/12” by Mexican band \u003ca href=\"http://www.cafetacuba.com.mx/web/\">Café Tacuba\u003c/a>, and its samples of sultry guitar and feverish rhythms seemed a better fit. And \u003ca href=\"http://en.wikipedia.org/wiki/Bryce_Dessner\">Bryce Dessner\u003c/a>‘s “Aheym (Homeward)” just before the interval was bright and flowing, a multilayered treat that reached out to the beauty of the landscape around us.\u003c/p>\n\u003cp>Lengthening shadows greeted a more sensual second half full of influences from the Middle East. Midhat Assem’s Egyptian tango “Ya Habibi Ta’ala” flowed seamlessly into the bazaar sounds of “Evic Taksim” by Turkish composer \u003ca href=\"http://en.wikipedia.org/wiki/Tanburi_Cemil_Bey\">Tanburi Cemil Bey\u003c/a>. Even “Scatter,” a piece written for Kronos by Swedish band \u003ca href=\"http://www.myspace.com/hurdygurdyprototyp\">Hurdy-Gurdy\u003c/a> picked up on that strange instrument’s Persian roots. Serbian composer \u003ca href=\"http://otherminds.org/shtml/Vrebalov.shtml\">Aleksandra Vrebalov\u003c/a>‘s “…hold me, neighbor, in this storm…” contained enough eastern flavor to continue the theme, before the quartet’s first encore, a traditional Lebanese song called “Wa Habibi,” provided a perfect lament for the disappearing sun. Then Kronos closed the show with an outstanding performance of “Flugufrelsarinn” by Icelandic band \u003ca href=\"http://www.sigur-ros.co.uk/\">Sigur Rós\u003c/a>, accompanied by the calling of crows coming home to roost on nearby trees.\u003c/p>\n\u003cp>The unusual surroundings contributed to the performance in many other ways. For example, the ambient throb of big Harleys from the bar’s parking lot combined surprisingly well with the music on several occasions. Meanwhile, the sound of ice rattling in people’s drinks, the sight of a young girl dancing unselfconsciously to the side of the stage, and the odd piece of vaguely misplaced applause here and there were all welcome indicators that this wasn’t a traditional classical music venue. Because, most of all, this concert was a reminder that in the open air, with the cool grass between your toes, your mind has much more space to wander.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Even if you aren’t planning on attending, by now you’ve probably at least seen the inescapable bus panels and billboards advertising this year’s \u003ca href=\"http://sfoutsidelands.com\">Outside Lands Festival\u003c/a>, taking place in San Francisco from Friday, August 28th through Sunday, August 30th. The ads usually focus on the headliners and upper-tier acts — Pearl Jam, Dave Matthews Band, the now-canceled Beastie Boys (curiously replaced by Tenacious D), Incubus, Black Eyed Peas, M.I.A. — the ones that event organizers surely hope will draw the crowds needed to make a three-day festival in Golden Gate Park financially viable. Lower down the card, however, there are some real gems among the 70+ acts performing over the weekend. If you’re headed to Outside Lands, be sure to check out some of these great bands.\u003c/p>\n\u003cp>Blind Pilot (performing on Friday at 4:10pm) are a duo from Portland whose acoustic pop-rock draws frequent comparisons to The Shins, if only because both bands excel at writing endearing tunes that feel familiar immediately and sing-along worthy soon after. But while The Shins’ biggest hits bowl the listener over, Blind Pilot’s debut \u003cb>3 Rounds And A Sound\u003c/b> is more easygoing and unassuming, touched with a lingering melancholy. The album is a fairly stripped down affair, so it’s a little surprising that the band is touring as a six-piece, and I’m curious how it the expanded lineup will sound. Another group not averse to inviting more people onstage, Northeastern trio Akron/Family (Friday, 1:45pm) released their latest psychedelic folk-rock collection \u003cb>Set ‘Em Wild, Set ‘Em Free\u003c/b> in May. The album is the band’s first since the departure of original member Ryan Vanderhoof and it’s crammed full of different instruments and unconventional song structures.\u003c/p>\n\u003cp>If you’re looking for some noisy indie rock, Deerhunter (Saturday, 6:40pm) has got it in droves.The Atlanta quartet’s music plays out as a compelling tug-of-war between the heavy swirling ambience of shoegaze and buzzing anthemic post-punk. It’s as fun to watch that struggle live as it to experience it on \u003cb>Cryptograms and Microcastle\u003c/b>. Portugal. the Man (Saturday, 3:10pm) similarly stack layers of sound to create epic rock. The band formed in Wasilla, Alaska (yes, THAT Wasilla) before migrating to Portland, Oregon. Since then, they’ve released four albums in four years, with \u003cb>The Satanic Satanist\u003c/b> emerging in July.\u003c/p>\n\u003cp>Not to be lost in the shuffle are some of the cream of the Bay Area indie community. The Dodos (Friday, 3:20pm) just released their third album \u003cb>Time to Die\u003c/b> early after it leaked online. While the new album reigns in some of its predecessor’s bombast under Phil Ek’s (Built to Spill, Fleet Foxes) production, it also shows the group has gotten even better at crafting winding, complex melodies. The trio’s ever-full performance schedule has made them a must-see live band. Indie pop quartet The Morning Benders (Sunday, 1:30pm) just returned from their first European tour, and recently recorded a new album with Chris Taylor of Grizzly Bear. While there’s no news about when we can expect \u003cb>Big Echo\u003c/b>, it’s always a treat to hear these guys’ upbeat, addictive songs. The same thing goes for their former tourmate and local singer-songwriter John Vanderslice (Sunday, 2:10pm), who delivered one of the year’s highlights with \u003cb>Romanian Names\u003c/b>.\u003c/p>\n\u003cp>With 70+ options on a variety of stages, there are sure to be some tough choices presented during Outside Lands, with plenty of talented performers on the side stages if you’re looking to avoid the mobs at the main ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> runs from August 28th – 30th, 2009 in Golden Gate Park. For \u003ca href=\"http://sfoutsidelands.com\">tickets and information\u003c/a>, visit SFOutsideLands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>Proof that Australia is basically a lunatic asylum where the inmates roam free — and get government funding to capture their most outlandish dreams on celluloid — is readily on display in \u003cb>Not Quite Hollywood\u003c/b>. The film is chock full of marauding hordes and crazed bikers — and those are just the folks BEHIND the camera. It’s a raucous clip show of some of the best (and most definitely the worst) genre films of the seventies and eighties. In this context, \u003cb>Mad Max\u003c/b> comes off looking like \u003cb>Citizen Kane\u003c/b>!\u003c/p>\n\u003cp>Genre cinema is based on the guilty pleasures of the flesh, its baring and tearing. The most effective (and beloved) genre films leave us with our mouths agape as we witness scenarios that stretch, snap and then desert all reason, tearing off into the night. We identify with the anti-heroes who commit outrageous acts that wouldn’t pop up in even our wildest dreams — the vigilante whose search for “justice” takes him over the edge or the free spirit who sheds her clothes at the slightest provocation.\u003c/p>\n\u003cp>\u003cb>Not Quite Hollywood\u003c/b> tracks the development of “Ozsploitation,” beginning in the swinging seventies (now I know to what the term “swinging” applies — all form of bulbous appendage) and pretty much explodes into the eighties, when the Australian outback came to symbolize the post-apocalyptic wasteland for most of the world. The ferocious mob tearing off into the night applies equally to the genre’s outlandish characters and the people who risked life and limb to capture the mayhem on film. It’s a wonder that many of the folks interviewed in \u003cb>Not Quite Hollywood\u003c/b> lived to tell the tale.\u003c/p>\n\u003cp>If that doesn’t sound appealing, then think of \u003cb>Not Quite Hollywood\u003c/b> as a bizarre car commercial from another planet, where this year’s model is covered in horns and powered by turbo jets.\u003c/p>\n\u003cp>If you love Ozsploitation, you’ll get the chance to revisit some of the most mind-bending stunts featured in the hundreds of films covered. If you aren’t a fan, the filmmakers have kindly cut the meat from the bones of their favorite films. Not a minute goes by without a bare breast or bottom, a warped bit of gore or a colossal explosion. We can only shake our heads and ponder the twisted minds at work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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