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"content": "\u003cp>Can anyone explain gig ticket charges to me? What \u003ci>are\u003c/i> those “convenience costs” and “building fees?” Shouldn’t these extras be included in the actual price, or is there some secret place no one has ever told me about where tickets can be bought without them? And why do the supplementary costs get bigger as the tickets themselves go up in price? Are more expensive tickets heavier and therefore harder to handle? Are they made from swan’s tears and gold leaf? Or does all the extra money we’re handing over cause additional wear and tear to a ticket agency’s bulging pockets?\u003c/p>\n\u003cp>Imagine if record stores did the same thing: you would take your $11.99 Kenny Rogers CD to the checkout, and the clerk would start ringing up $7.85 in previously unannounced service charges, a $2.50 handling fee, a mysterious $1.15 add-on for “store expenses,” plus $1.94 tax, before asking for a total of $25.43. Chances are your response would include a suggestion for the disc to explore parts of the store clerk Kenny never thought he’d see.\u003c/p>\n\u003cp>A random survey of upcoming gigs reveals plenty of similarly silly ticket prices. At one end of the scale, \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1242862271&B_id=1059706565103&P_id=3\" target=\"offsite\" rel=\"noopener\">Kelley Stoltz at Café du Nord\u003c/a> is a bargain: tickets cost $10 each, and you can buy them direct from the venue (by phone or in person) for a reasonable $1 per ticket in fees, or via Ticketweb for $2.25. So that’s a quick 10 to 22.5-percent markup, which may not be welcome but also isn’t outrageous.\u003c/p>\n\u003cp>But if you want to see \u003ca href=\"http://www.livenation.com/edp/eventId/406683\" target=\"offsite\" rel=\"noopener\">Green Day at the HP Pavilion\u003c/a> in San Jose, a full-price $46.50 ticket from Ticketmaster comes with a $3 “building facility charge,” a $9.25 “convenience charge,” and a $4.20 “order processing” fee, to add $16.45 to the original price. This represents a pretty substantial 35 percent increase, and it’s more than seven times the dollar cost of Ticketweb’s fees for a Kelley Stoltz ticket.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"offsite\" rel=\"noopener\">Bon Iver at Oakland’s Fox Theater\u003c/a>, also through Ticketmaster, is even more ridiculous: a $22.50 ticket is lumbered with $12.55 in various, apparently unavoidable fees, which is an incredible 56 percent markup. And that’s before you add the $7-per-ticket “event insurance” option, or mailing charges which range from $19.50 for two-day express courier to zero for standard mail — bizarrely, you can even choose to be charged $2.50 for the privilege of printing out your own pass. Huh? Indeed, when you add it all up, the extras can end up costing more than the face value of the ticket itself, which makes no kind of sense at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps major-league gig promoter Live Nation is beginning to realize this. It has been \u003ca href=\"http://www.billboard.com/bbcom/news/live-nation-cuts-service-fees-in-major-summer-1003978124.story\" target=\"offsite\" rel=\"noopener\">offering tickets without service fees\u003c/a> on Wednesdays throughout the summer, presumably to try to offset the effects of the current economic slump. However, this supposedly generous promotion only serves to shine a light on the extortion the company, and others like it, commit the rest of the time. The prices they all advertise for concert tickets are at best optimistic, and at worse downright deceitful. But it’s only going to change when customers, faced with repeated nasty shocks at the checkout, stop clicking “buy now” and start saying “screw you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can anyone explain gig ticket charges to me? What \u003ci>are\u003c/i> those “convenience costs” and “building fees?” Shouldn’t these extras be included in the actual price, or is there some secret place no one has ever told me about where tickets can be bought without them? And why do the supplementary costs get bigger as the tickets themselves go up in price? Are more expensive tickets heavier and therefore harder to handle? Are they made from swan’s tears and gold leaf? Or does all the extra money we’re handing over cause additional wear and tear to a ticket agency’s bulging pockets?\u003c/p>\n\u003cp>Imagine if record stores did the same thing: you would take your $11.99 Kenny Rogers CD to the checkout, and the clerk would start ringing up $7.85 in previously unannounced service charges, a $2.50 handling fee, a mysterious $1.15 add-on for “store expenses,” plus $1.94 tax, before asking for a total of $25.43. Chances are your response would include a suggestion for the disc to explore parts of the store clerk Kenny never thought he’d see.\u003c/p>\n\u003cp>A random survey of upcoming gigs reveals plenty of similarly silly ticket prices. At one end of the scale, \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1242862271&B_id=1059706565103&P_id=3\" target=\"offsite\" rel=\"noopener\">Kelley Stoltz at Café du Nord\u003c/a> is a bargain: tickets cost $10 each, and you can buy them direct from the venue (by phone or in person) for a reasonable $1 per ticket in fees, or via Ticketweb for $2.25. So that’s a quick 10 to 22.5-percent markup, which may not be welcome but also isn’t outrageous.\u003c/p>\n\u003cp>But if you want to see \u003ca href=\"http://www.livenation.com/edp/eventId/406683\" target=\"offsite\" rel=\"noopener\">Green Day at the HP Pavilion\u003c/a> in San Jose, a full-price $46.50 ticket from Ticketmaster comes with a $3 “building facility charge,” a $9.25 “convenience charge,” and a $4.20 “order processing” fee, to add $16.45 to the original price. This represents a pretty substantial 35 percent increase, and it’s more than seven times the dollar cost of Ticketweb’s fees for a Kelley Stoltz ticket.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"offsite\" rel=\"noopener\">Bon Iver at Oakland’s Fox Theater\u003c/a>, also through Ticketmaster, is even more ridiculous: a $22.50 ticket is lumbered with $12.55 in various, apparently unavoidable fees, which is an incredible 56 percent markup. And that’s before you add the $7-per-ticket “event insurance” option, or mailing charges which range from $19.50 for two-day express courier to zero for standard mail — bizarrely, you can even choose to be charged $2.50 for the privilege of printing out your own pass. Huh? Indeed, when you add it all up, the extras can end up costing more than the face value of the ticket itself, which makes no kind of sense at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps major-league gig promoter Live Nation is beginning to realize this. It has been \u003ca href=\"http://www.billboard.com/bbcom/news/live-nation-cuts-service-fees-in-major-summer-1003978124.story\" target=\"offsite\" rel=\"noopener\">offering tickets without service fees\u003c/a> on Wednesdays throughout the summer, presumably to try to offset the effects of the current economic slump. However, this supposedly generous promotion only serves to shine a light on the extortion the company, and others like it, commit the rest of the time. The prices they all advertise for concert tickets are at best optimistic, and at worse downright deceitful. But it’s only going to change when customers, faced with repeated nasty shocks at the checkout, stop clicking “buy now” and start saying “screw you.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the opening of its 40th season, TheatreWorks is presenting the world premiere of \u003cb>Tinyard Hill\u003c/b> at the Lucie Stern Theater in Palo Alto. Set in 1964 Georgia, the four-person musical spends a tumultuous summer with a father-and-son blacksmith team and their busybody next-door neighbor, whose niece is in town to be fitted for her wedding dress.\u003c/p>\n\u003cp>The dressmaking auntie, May Bell Whitehead (Allison Briner), knows everybody, everybody’s business, and bakes pie after irresistible pie. Her alcoholic husband, who spent years hounding her for kinky sex, has just walked out on their childless marriage. May Bell’s white-trash neighbor, Russell Kingsley (James Moye), is a gruff, no-nonsense widower of five years. He’s set in his old-school smithy ways, or so he’d have us believe. His handsome 18-year-old son, David (Chris Critelli) is a young man with big plans who’s frustrated working for his visionless dad. He’s ready for a change. And the blushing bride? Aileen Garrett (Melissa WolfKlain) is an attractive 18-year-old city girl from Manhattan. She’s engaged to a 30-year-old psychiatrist, but this summer in the country is causing her to reassess. What on earth has she gotten herself into?\u003c/p>\n\u003cp>Guess what happens when the two kids meet? If you said “they’ll despise each other at first, but only so the play can have an arc for the love story that follows,” you win a pair of tickets to the Dooley County Fair. Guess what happens to their elders and you win one of May Bell’s pies.\u003c/p>\n\u003cp>The writers, Tommy Newman and Mark Allen, balance the Red State cliché characters and sappy lyrics (“a blacksmith’s work is never done,” the actors actually sing) with just enough Blue State twists to keep things palatable for liberal-leaning audiences. The music has that punchy Broadway sound, the performance by the live band is spirited and tight, and the voices, especially the men’s, are rich and strong.\u003c/p>\n\u003cp>But \u003cb>Tinyard Hill\u003c/b> seems a rather un-ambitious choice to kick off a season, especially when the musical is also being billed as the “centerpiece” of the peninsula company’s \u003ca href=\"http://www.theatreworks.org/about/newworks/festivalevents.aspx\">8th Annual New Works Festival\u003c/a>. For the record, I had a great deal of sympathy for David’s situation — he’s like a few other draft-age males I knew during the Vietnam era who questioned the morality of not serving because you didn’t agree with the war or could somehow weasel your way out of it. But the ride to the play’s dénouement is sparing with the surprises, and by the second act, loose threads are tied up way too conveniently and hurriedly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TheatreWorks’s production of \u003cb>Tinyard Hill\u003c/b> runs through August 16, 2009 at the Lucie Stern Theater in Palo Alto. For \u003ca href=\"http://www.theatreworks.org/\">tickets and information\u003c/a>, visit theatreworks.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the opening of its 40th season, TheatreWorks is presenting the world premiere of \u003cb>Tinyard Hill\u003c/b> at the Lucie Stern Theater in Palo Alto. Set in 1964 Georgia, the four-person musical spends a tumultuous summer with a father-and-son blacksmith team and their busybody next-door neighbor, whose niece is in town to be fitted for her wedding dress.\u003c/p>\n\u003cp>The dressmaking auntie, May Bell Whitehead (Allison Briner), knows everybody, everybody’s business, and bakes pie after irresistible pie. Her alcoholic husband, who spent years hounding her for kinky sex, has just walked out on their childless marriage. May Bell’s white-trash neighbor, Russell Kingsley (James Moye), is a gruff, no-nonsense widower of five years. He’s set in his old-school smithy ways, or so he’d have us believe. His handsome 18-year-old son, David (Chris Critelli) is a young man with big plans who’s frustrated working for his visionless dad. He’s ready for a change. And the blushing bride? Aileen Garrett (Melissa WolfKlain) is an attractive 18-year-old city girl from Manhattan. She’s engaged to a 30-year-old psychiatrist, but this summer in the country is causing her to reassess. What on earth has she gotten herself into?\u003c/p>\n\u003cp>Guess what happens when the two kids meet? If you said “they’ll despise each other at first, but only so the play can have an arc for the love story that follows,” you win a pair of tickets to the Dooley County Fair. Guess what happens to their elders and you win one of May Bell’s pies.\u003c/p>\n\u003cp>The writers, Tommy Newman and Mark Allen, balance the Red State cliché characters and sappy lyrics (“a blacksmith’s work is never done,” the actors actually sing) with just enough Blue State twists to keep things palatable for liberal-leaning audiences. The music has that punchy Broadway sound, the performance by the live band is spirited and tight, and the voices, especially the men’s, are rich and strong.\u003c/p>\n\u003cp>But \u003cb>Tinyard Hill\u003c/b> seems a rather un-ambitious choice to kick off a season, especially when the musical is also being billed as the “centerpiece” of the peninsula company’s \u003ca href=\"http://www.theatreworks.org/about/newworks/festivalevents.aspx\">8th Annual New Works Festival\u003c/a>. For the record, I had a great deal of sympathy for David’s situation — he’s like a few other draft-age males I knew during the Vietnam era who questioned the morality of not serving because you didn’t agree with the war or could somehow weasel your way out of it. But the ride to the play’s dénouement is sparing with the surprises, and by the second act, loose threads are tied up way too conveniently and hurriedly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, we’re excited to feature Rubies, a band led by Simone Rubi and Terri Lowenthal, both formerly of Call and Response. If you’re familiar with that Bay Area indie pop band, who released some great California-feeling albums in the early-to-mid 2000s, it won’t surprise you that catchy melodies and warm harmonies are some of the new band’s strengths as well. At the same time, the group’s sonic toolkit is considerably tougher to pin down, with a blend of folk, pop, disco, and electronica that’s catchy and danceable. The melange has a distinctively cosmopolitan, modern feel to it, and it seems quite understandable that Rubies are already an international hit even as they introduce themselves to stateside audiences with their debut full length, \u003cb>Explode from the Center\u003c/b>.\u003c/p>\n\u003cp>The band’s global reach extends to the origins of their debut album, out worldwide last month on Telle Records. \u003cb>Explode\u003c/b> emerged out of Simone’s travels in Scandinavia, where she reconnected with old friends like the Kings of Convenience and met new collaborators like album co-producer Karl-Jonas Winqvist. The variety of contributors is appropriate given the band’s expansive sounds, but, rather than become bogged down by the various hands involved, the songs exhibit a welcome “less is more” leanness befitting their airy grooves. With melodies and voices as compelling as these, it’s no surprise that the band’s been remixed multiple times to great effect and their versatility will come in handy on the Rubies’ upcoming domestic tours.\u003c/p>\n\u003cp>We sat down with Simone and Terri recently to discuss how Rubies emerged from Simone’s solo songwriting, their experiences touring Russia and more. We’ve also included four songs in the episode, including a couple from \u003cb>Explode from the Center\u003c/b>, another new one, and a remix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I must confess that I haven’t been a big fan of The Fiery Furnaces in the past. That isn’t to say that I haven’t tried. Several times. The first attempt was back in 2003 when the brother-sister duo first arrived on the indie music scene with their premiere album, \u003cb>Gallowsbird’s Bark\u003c/b>. A friend had told me that Matthew and Eleanor Friedberger happened to be Greek. As a Greek myself who is pretty starved for modern idols from the motherland (Amy Sedaris and Tina Fey, notwithstanding), I had every intention of loving them, but, after a few lackluster listens, things didn’t work out.\u003c/p>\n\u003cp>Fast forward six years to The Fiery Furnaces eighth album, \u003cb>I’m Going Away\u003c/b>. The music critics in the blogosphere were buzzing about the release, so I decided to sit down with the album and give my compatriots another chance.\u003c/p>\n\u003cp>The band’s past efforts have been inaccessible to say the least. Their experimental, avant-garde approach to pop-rock and Eleanor Friedberger’s unconventional, erratic vocals are hard to stomach at first. But much like hard alcohol, if you keep sipping, it tastes better and better. In a nutshell, \u003cb>I’m Going Away\u003c/b> is a grower.\u003c/p>\n\u003cp>The album opens with “I’m Going Away,” a hyperactive, thumping song with back-and-forth distorted guitars and no-nonsense lyrics packed with attitude (“Get away from my window, quit knocking on my door/ I got another man now, can’t use you no more!”). The end of a romance is also the subject of the bluesy “Drive to Dallas,” in which Eleanor abandons her maudlin post-breakup rituals: “I’m not going to cut my hair or run around the block/ I’m not going to drive to Dallas with blurry eyes ever again.” And to prove that the track isn’t about wallowing, the song randomly bursts into two unexpected, thrilling electric guitar breakdowns.\u003c/p>\n\u003cp>“Charmaine Champagne” picks up the pace even further as Eleanor does what she does best: packing a single line with more scats and scatterbrained words than one would think possible. And, just in case a listener might think the band had lost its knack for being weird, “Staring at the Steeple” arrives in the middle of the pack with groovy beats that underline the story of a female preacher packing heat. Not sure what it all means, but who cares? Other notable numbers are the raw, ’70s inspired first single, “The End is Near,” and funky sing-a-long track, “Keep Me in the Dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alas, The Fiery Furnaces shtick starts getting annoying with songs like “Ray Bouvier” and “Cup and Punches.” Matthew’s music steps over the line from quirky to schizophrenic, while Eleanor’s eccentric vocal delivery devolves into rambling. Sometimes, it feels as though the siblings are just being strange for strangeness’ sake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As if the Friedbergers knew that these grievances would arise, the album’s closing song, “Take Me Round Again,” rights most of the album’s wrongs and captures what the band is truly capable of: a bopping beat that demands a repeat listen and will make you move. \u003cb>I’m Going Away\u003c/b> might not be enough to persuade every new listener, but it was just enough for this Greek.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I must confess that I haven’t been a big fan of The Fiery Furnaces in the past. That isn’t to say that I haven’t tried. Several times. The first attempt was back in 2003 when the brother-sister duo first arrived on the indie music scene with their premiere album, \u003cb>Gallowsbird’s Bark\u003c/b>. A friend had told me that Matthew and Eleanor Friedberger happened to be Greek. As a Greek myself who is pretty starved for modern idols from the motherland (Amy Sedaris and Tina Fey, notwithstanding), I had every intention of loving them, but, after a few lackluster listens, things didn’t work out.\u003c/p>\n\u003cp>Fast forward six years to The Fiery Furnaces eighth album, \u003cb>I’m Going Away\u003c/b>. The music critics in the blogosphere were buzzing about the release, so I decided to sit down with the album and give my compatriots another chance.\u003c/p>\n\u003cp>The band’s past efforts have been inaccessible to say the least. Their experimental, avant-garde approach to pop-rock and Eleanor Friedberger’s unconventional, erratic vocals are hard to stomach at first. But much like hard alcohol, if you keep sipping, it tastes better and better. In a nutshell, \u003cb>I’m Going Away\u003c/b> is a grower.\u003c/p>\n\u003cp>The album opens with “I’m Going Away,” a hyperactive, thumping song with back-and-forth distorted guitars and no-nonsense lyrics packed with attitude (“Get away from my window, quit knocking on my door/ I got another man now, can’t use you no more!”). The end of a romance is also the subject of the bluesy “Drive to Dallas,” in which Eleanor abandons her maudlin post-breakup rituals: “I’m not going to cut my hair or run around the block/ I’m not going to drive to Dallas with blurry eyes ever again.” And to prove that the track isn’t about wallowing, the song randomly bursts into two unexpected, thrilling electric guitar breakdowns.\u003c/p>\n\u003cp>“Charmaine Champagne” picks up the pace even further as Eleanor does what she does best: packing a single line with more scats and scatterbrained words than one would think possible. And, just in case a listener might think the band had lost its knack for being weird, “Staring at the Steeple” arrives in the middle of the pack with groovy beats that underline the story of a female preacher packing heat. Not sure what it all means, but who cares? Other notable numbers are the raw, ’70s inspired first single, “The End is Near,” and funky sing-a-long track, “Keep Me in the Dark.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alas, The Fiery Furnaces shtick starts getting annoying with songs like “Ray Bouvier” and “Cup and Punches.” Matthew’s music steps over the line from quirky to schizophrenic, while Eleanor’s eccentric vocal delivery devolves into rambling. Sometimes, it feels as though the siblings are just being strange for strangeness’ sake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As if the Friedbergers knew that these grievances would arise, the album’s closing song, “Take Me Round Again,” rights most of the album’s wrongs and captures what the band is truly capable of: a bopping beat that demands a repeat listen and will make you move. \u003cb>I’m Going Away\u003c/b> might not be enough to persuade every new listener, but it was just enough for this Greek.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we’re excited to feature Thee Oh Sees, a band that — seriously, do we need to introduce this band to you? Through a relentless performance schedule and some excellent recordings, it’s tough not to consider Thee Oh Sees one of the top rock bands in the Bay Area and we were pleased to invite bandleader John Dwyer into the studio for this episode. Thee Oh Sees evolved in a unique trajectory, beginning first as a solo home-recording outlet for Dwyer (Coachwhips, Pink and Brown) and gradually evolving as he became less interested in folky sounds and moved toward the intensity he’d played with in previous projects. He’s aided in this process by talented bandmates Brigid Dawson, Petey Dammit, and Mike Shoun. The result is a noisy rock sound that has built the band a devoted following.\u003c/p>\n\u003cp>If those early recordings aren’t indicative of the band’s current sound, they underscore John’s skill with melody and Thee Oh Sees in ’09 retain a melodic element in their supercharged rock. The band’s year, so far, has been tough to beat, releasing their latest full length, \u003cb>Help\u003c/b>, on In the Red Records and playing a ton of shows — locally, at SXSW, touring with Jay Reatard — that have earned them a reputation as one of the best live bands in Bay Area. The band has also released a number of get-them-before-they-vanish seven inches and plans to soon record its next full length release. Oh, and John co-runs Castle Face Records, which champions albums from similarly talented locals Ty Segall and The Fresh & Onlys. Thee Oh Sees are an extremely busy band right now, and we are all the better for it.\u003c/p>\n\u003cp>We sat down with John recently to discuss the band’s upcoming recording plans, Castle Face Records and more. We’ve also included four songs from Thee Oh Sees in the episode, including two brand new ones!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>New York indie sophisticates \u003ca href=\"http://www.4ad.com/blonderedhead/\">Blonde Redhead\u003c/a> are hitting San Francisco for two nights this week on a strange and unique musical mission. They aren’t in the middle of a tour. They have no promotional schedule to speak of. Their most recent album of idiosyncratic mood music, \u003cb>23\u003c/b>, was released more than two years ago. Sure, they’re in the early stages of writing a follow-up, but no one knows when that might be released, not even their PR rep. Indeed, if it wasn’t for the dubious claim that their gig is being held as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a> (yeah, that’s right, a \u003ci>film\u003c/i> festival) then they would be crossing the country for \u003ci>absolutely no reason at all\u003c/i>.\u003c/p>\n\u003cp>Just think: a rare chance to see a bunch of musicians from out of town play music for the sake of playing music. What is the world coming to? Someday you’ll want to tell your kids about this extraordinary event.\u003c/p>\n\u003cp>But isn’t this exactly how things are supposed to be happening in our brave new online world? Last we heard, the internet was on the verge of creating an artist-controlled nirvana where albums are irrelevant and it’s all about live shows and ringtone downloads. Bands are meant to be popping into town at all sorts of odd times, Twittering word of their arrival in between posting new tracks on Myspace. Or something. Except back here in Reality Land not very much has changed, and most artists are stuck in the same old alternating trudge of creating product and peddling merchandise.\u003c/p>\n\u003cp>Thankfully, a few artists are beginning to break the mold, and it’s fitting that — this week at least — Blonde Redhead are among them. They are, after all, an unusual band, and not just because of their off-kilter saturnine sound. Having eased the harsh discordance and buzzing distortion of their earlier albums, they now come across like the soundtrack to some imagined noirish art-house movie. But the most unusual thing about them is less where their music has ended up, and more the fact it has changed at all. In an age when so many acts seem to fast-forward through early hype to premature burnout, Blonde Redhead started out the old-fashioned way, taking time to mature and develop before appearing on the main stage as if by stealth (which is pretty much how they’re going to show up again this week).\u003c/p>\n\u003cp>So, are these gigs a sign of things to come or a throwback to the past? It doesn’t matter. The important thing is that they’re happening right now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Blonde Redhead play \u003ca href=\"http://www.theindependentsf.com/july2009.htm\">The Independent\u003c/a> in San Francisco July 14 and 15, 2009, as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New York indie sophisticates \u003ca href=\"http://www.4ad.com/blonderedhead/\">Blonde Redhead\u003c/a> are hitting San Francisco for two nights this week on a strange and unique musical mission. They aren’t in the middle of a tour. They have no promotional schedule to speak of. Their most recent album of idiosyncratic mood music, \u003cb>23\u003c/b>, was released more than two years ago. Sure, they’re in the early stages of writing a follow-up, but no one knows when that might be released, not even their PR rep. Indeed, if it wasn’t for the dubious claim that their gig is being held as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a> (yeah, that’s right, a \u003ci>film\u003c/i> festival) then they would be crossing the country for \u003ci>absolutely no reason at all\u003c/i>.\u003c/p>\n\u003cp>Just think: a rare chance to see a bunch of musicians from out of town play music for the sake of playing music. What is the world coming to? Someday you’ll want to tell your kids about this extraordinary event.\u003c/p>\n\u003cp>But isn’t this exactly how things are supposed to be happening in our brave new online world? Last we heard, the internet was on the verge of creating an artist-controlled nirvana where albums are irrelevant and it’s all about live shows and ringtone downloads. Bands are meant to be popping into town at all sorts of odd times, Twittering word of their arrival in between posting new tracks on Myspace. Or something. Except back here in Reality Land not very much has changed, and most artists are stuck in the same old alternating trudge of creating product and peddling merchandise.\u003c/p>\n\u003cp>Thankfully, a few artists are beginning to break the mold, and it’s fitting that — this week at least — Blonde Redhead are among them. They are, after all, an unusual band, and not just because of their off-kilter saturnine sound. Having eased the harsh discordance and buzzing distortion of their earlier albums, they now come across like the soundtrack to some imagined noirish art-house movie. But the most unusual thing about them is less where their music has ended up, and more the fact it has changed at all. In an age when so many acts seem to fast-forward through early hype to premature burnout, Blonde Redhead started out the old-fashioned way, taking time to mature and develop before appearing on the main stage as if by stealth (which is pretty much how they’re going to show up again this week).\u003c/p>\n\u003cp>So, are these gigs a sign of things to come or a throwback to the past? It doesn’t matter. The important thing is that they’re happening right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The bombastic, tireless, and occasionally goofy Fleshies are playing a rare show at the Elbo Room in San Francisco tonight. A Fleshies show brings the promise of a boisterous performance, exuberant fans, and punk rock anthems. When I leave a Fleshies show, I frequently find myself thinking that it was the best show ever. It’s because of the excitement from the audience and from the band, a sense of bonhomie and good times mixed with the ridiculous volume and antics of any good punk show.\u003c/p>\n\u003cp>The Oakland quintet has been playing fewer live shows in the last couple years, but they haven’t been completely inactive. Instead they’ve been holed up recording a new album, \u003cb>Brown Flag\u003c/b>, which is coming out later this year on Recess Records. Plus members of Fleshies are in other bands, including \u003ca href=\"http://www.myspace.com/triclopsband\">Triclops!\u003c/a>, and \u003ca href=\"http://www.myspace.com/bikefight1\">Bikefight\u003c/a> that play more regularly. So while the Bay Area hasn’t gotten to see much of Fleshies lately, it’s not because they haven’t been around.\u003c/p>\n\u003cp>And that’s lucky for us, because Fleshies have been a pillar in the Bay Area’s roiling punk scene for close to a decade. In their earlier years they founded S.P.A.M. Records, which put out joyful, strange, and alienated albums by young local bands, and hosted \u003ca href=\"http://en.wikipedia.org/wiki/Geekfest\"> Geekfest\u003c/a>, a festival featuring more of the same. They’ve stuck with punk record labels, small clubs, and dark basements throughout their years of creative success. And that means that punk’s young fans, in addition to those who have stayed around since the ’90s, continue to rally around them (disclosure: it’s a tightly knit scene; Fleshies’ drummer Brian Hamilton has a recording studio, and one of the many local bands he has recorded was mine).\u003c/p>\n\u003cp>Fleshies shows are loud. The phrase “wall of sound” has always made me think of the pure buzz coming from their duel guitars, rather than Phil Spector’s orchestral pop arrangements. They’re exuberant. Lead singer Johnny can barely make it through a song without hurling himself into the audience. He frequently ends up naked by the end of a set, and his acrobatics and energetic performance would be exhausting without the addition of his shouting and singing. And they’re fun. Fleshies do not take themselves deathly seriously, and though most songs are heavy, melodic rock, they don’t shy away from more nimble tunes (for instance, they frequently cover cult glam band \u003ca href=\"http://allsparks.com/\">Sparks\u003c/a>). Fleshies attract a mosh pit-prone crowd, but it’s a friendly one.\u003c/p>\n\u003cp>Fleshies are playing Friday, July 17, 2009 at the Elbo Room with reunited 70’s punk band \u003ca href=\"http://www.myspace.com/wildweekend77\">The Zeros\u003c/a>. For \u003ca href=\"http://www.elbo.com/\">tickets and information\u003c/a> visit elbo.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The bombastic, tireless, and occasionally goofy Fleshies are playing a rare show at the Elbo Room in San Francisco tonight. A Fleshies show brings the promise of a boisterous performance, exuberant fans, and punk rock anthems. When I leave a Fleshies show, I frequently find myself thinking that it was the best show ever. It’s because of the excitement from the audience and from the band, a sense of bonhomie and good times mixed with the ridiculous volume and antics of any good punk show.\u003c/p>\n\u003cp>The Oakland quintet has been playing fewer live shows in the last couple years, but they haven’t been completely inactive. Instead they’ve been holed up recording a new album, \u003cb>Brown Flag\u003c/b>, which is coming out later this year on Recess Records. Plus members of Fleshies are in other bands, including \u003ca href=\"http://www.myspace.com/triclopsband\">Triclops!\u003c/a>, and \u003ca href=\"http://www.myspace.com/bikefight1\">Bikefight\u003c/a> that play more regularly. So while the Bay Area hasn’t gotten to see much of Fleshies lately, it’s not because they haven’t been around.\u003c/p>\n\u003cp>And that’s lucky for us, because Fleshies have been a pillar in the Bay Area’s roiling punk scene for close to a decade. In their earlier years they founded S.P.A.M. Records, which put out joyful, strange, and alienated albums by young local bands, and hosted \u003ca href=\"http://en.wikipedia.org/wiki/Geekfest\"> Geekfest\u003c/a>, a festival featuring more of the same. They’ve stuck with punk record labels, small clubs, and dark basements throughout their years of creative success. And that means that punk’s young fans, in addition to those who have stayed around since the ’90s, continue to rally around them (disclosure: it’s a tightly knit scene; Fleshies’ drummer Brian Hamilton has a recording studio, and one of the many local bands he has recorded was mine).\u003c/p>\n\u003cp>Fleshies shows are loud. The phrase “wall of sound” has always made me think of the pure buzz coming from their duel guitars, rather than Phil Spector’s orchestral pop arrangements. They’re exuberant. Lead singer Johnny can barely make it through a song without hurling himself into the audience. He frequently ends up naked by the end of a set, and his acrobatics and energetic performance would be exhausting without the addition of his shouting and singing. And they’re fun. Fleshies do not take themselves deathly seriously, and though most songs are heavy, melodic rock, they don’t shy away from more nimble tunes (for instance, they frequently cover cult glam band \u003ca href=\"http://allsparks.com/\">Sparks\u003c/a>). Fleshies attract a mosh pit-prone crowd, but it’s a friendly one.\u003c/p>\n\u003cp>Fleshies are playing Friday, July 17, 2009 at the Elbo Room with reunited 70’s punk band \u003ca href=\"http://www.myspace.com/wildweekend77\">The Zeros\u003c/a>. For \u003ca href=\"http://www.elbo.com/\">tickets and information\u003c/a> visit elbo.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After an opening weekend of performances in Oakland, the Thirteenth Annual Mission Creek Music And Arts Festival (“MCMF”) kicks off in full today with a variety of performances throughout City venues and performance spaces over the next eleven days. Although it began as a single day concert featuring eight bands, Mission Creek has grown over the years to include interdisciplinary performance arts showcases, a mini-fest focusing on music from throughout the Americas, and a film series, in addition to concerts with some of the Bay Area’s best bands.\u003c/p>\n\u003cp>For people interested in the local arts, the festival includes a diverse array of offerings attributable to Mission Creek’s DIY, volunteer-driven programming. The downside of this model might be that year to year you never know quite what you’re going to get, but this unpredictability also remains one of the fest’s unique charms. This year’s MCMF is packed full of exciting concerts, with some lineups definitely worth your concert dollar.\u003c/p>\n\u003cp>One of the highest profile shows at MCMF actually won’t require a dollar at all. Saturday, July 18th, the Fest holds an afternoon-into-the-evening free show at the Jerry Garcia Amphitheater in McLaren Park. Los Angeles psych trio Dead Meadow headline the show, but there are plenty of great locals on the bill, including Sub Pop singer-songwriter-producer Kelley Stoltz, garage-pop luminaries Persephone’s Bees, and electro-folk-pop band Rubies. The event runs from 11am to 8pm, but be sure to get there on the early side to catch two of my favorites, Birds & Batteries and Leopold and His Fiction. Birds & Batteries mixes a strong electronic experimentalism into their take on American rock, while Leopold plays blues-rock with an intensity that makes for great live performances.\u003c/p>\n\u003cp>More appropriate for a drunken evening than a breezy afternoon, Thee Oh Sees headline another great Mission Creek event on Thursday, July 16th at the Eagle Tavern. The SF quartet are hands down one of the best live bands in the Bay Area, delivering raucous, catchy sets of garage rock that remain fresh and entrancing, even after you’ve seen them three times in two weeks (which I did earlier this year). The band’s latest record, \u003cb>Help\u003c/b>, was released earlier this year on In the Red Records, and is highly recommended. Bandleader John Dwyer also co-founded Castle Face Records to champion bands he believes in, and he’s put out full lengths from several awesome local acts, including psych-pop band The Fresh and Onlys and one-man-band-turned-bandleader Ty Segall. Both join Thee Oh Sees at Thursday’s show and have high-profile releases coming out on the influential Woodsist and Goner labels respectively.\u003c/p>\n\u003cp>Picking a few shows to highlight out of a diverse 50-plus event lineup necessarily feels like a highly subjective and myopic endeavor, incapable of even touching on the whole gamut of MCMF offerings. Perhaps it’s best to end with an affirmation that if you look closely enough, there’s probably something at this year’s Mission Creek that’s up your alley. By offering samples of the Bay Area’s many indie microclimates, the festival has already succeeded in bringing a sense of common identity to an otherwise diffuse music and performance scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Mission Creek Music and Arts Festival runs July 15 – 24, 2009 at various San Francisco locations. For \u003ca href=\"http://www.mcmf.org/\">more information\u003c/a> visit mcmf.org.\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>After an opening weekend of performances in Oakland, the Thirteenth Annual Mission Creek Music And Arts Festival (“MCMF”) kicks off in full today with a variety of performances throughout City venues and performance spaces over the next eleven days. Although it began as a single day concert featuring eight bands, Mission Creek has grown over the years to include interdisciplinary performance arts showcases, a mini-fest focusing on music from throughout the Americas, and a film series, in addition to concerts with some of the Bay Area’s best bands.\u003c/p>\n\u003cp>For people interested in the local arts, the festival includes a diverse array of offerings attributable to Mission Creek’s DIY, volunteer-driven programming. The downside of this model might be that year to year you never know quite what you’re going to get, but this unpredictability also remains one of the fest’s unique charms. This year’s MCMF is packed full of exciting concerts, with some lineups definitely worth your concert dollar.\u003c/p>\n\u003cp>One of the highest profile shows at MCMF actually won’t require a dollar at all. Saturday, July 18th, the Fest holds an afternoon-into-the-evening free show at the Jerry Garcia Amphitheater in McLaren Park. Los Angeles psych trio Dead Meadow headline the show, but there are plenty of great locals on the bill, including Sub Pop singer-songwriter-producer Kelley Stoltz, garage-pop luminaries Persephone’s Bees, and electro-folk-pop band Rubies. The event runs from 11am to 8pm, but be sure to get there on the early side to catch two of my favorites, Birds & Batteries and Leopold and His Fiction. Birds & Batteries mixes a strong electronic experimentalism into their take on American rock, while Leopold plays blues-rock with an intensity that makes for great live performances.\u003c/p>\n\u003cp>More appropriate for a drunken evening than a breezy afternoon, Thee Oh Sees headline another great Mission Creek event on Thursday, July 16th at the Eagle Tavern. The SF quartet are hands down one of the best live bands in the Bay Area, delivering raucous, catchy sets of garage rock that remain fresh and entrancing, even after you’ve seen them three times in two weeks (which I did earlier this year). The band’s latest record, \u003cb>Help\u003c/b>, was released earlier this year on In the Red Records, and is highly recommended. Bandleader John Dwyer also co-founded Castle Face Records to champion bands he believes in, and he’s put out full lengths from several awesome local acts, including psych-pop band The Fresh and Onlys and one-man-band-turned-bandleader Ty Segall. Both join Thee Oh Sees at Thursday’s show and have high-profile releases coming out on the influential Woodsist and Goner labels respectively.\u003c/p>\n\u003cp>Picking a few shows to highlight out of a diverse 50-plus event lineup necessarily feels like a highly subjective and myopic endeavor, incapable of even touching on the whole gamut of MCMF offerings. Perhaps it’s best to end with an affirmation that if you look closely enough, there’s probably something at this year’s Mission Creek that’s up your alley. By offering samples of the Bay Area’s many indie microclimates, the festival has already succeeded in bringing a sense of common identity to an otherwise diffuse music and performance scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When President Thomas Jefferson passed over 15 million big ones to the French government in return for the vast Louisiana Territory in 1803, he probably did not have swinging guitarists on his mind. But a little over 200 years later, the trio that makes up New West — Brady Cohan, Perry Smith and John Storie — have launched their own Lewis and Clark Expedition into the unknown realms of musical possibilities. (I’ll let the three of them Rochambeau over who is Sacagawea in this scenario). \u003c/p>\n\u003cp>First there is the unorthodox instrumentation; multiple guitar groups are almost unheard of outside of the classical world. Then there is the choice of material. Yes, this group of jazz guitarists owes a great deal to their predecessors within the idiom, but listen only a few seconds into their new album, \u003cb>Sleeping Lady\u003c/b>, and you’ll find that the music is as much James Taylor and Radiohead as it is Wes Montgomery and Pat Metheny.\u003c/p>\n\u003cp>\u003cb>Sleeping Lady\u003c/b> is an all-acoustic venture, signaling a trajectory for the group that leads away from harmonized bebop heads and towards the full arrangements of folk and jazz-infused chamber music that have become the group’s bread and butter. Whether it’s the driving 7/4 groove of “Crooked Railroad,” which conjures images of a rugged trip along the expanses of the Transcontinental Railroad, or the hushed intimacy of “Never Had A Chance,” where the trio is joined by vocalist Gretchen Parlatto, it is very clear that this group is charting a new direction in ensemble music.\u003c/p>\n\u003cp>While the music casts New West as explorers on the edge of the musical frontier (alright, I might be taking this metaphor too far), their debut at the legendary Yoshi’s jazz club in Oakland’s Jack London Square is, in essence, a homecoming. Two of the three members, Perry Smith and Brady Cohan, are Bay Area natives. Not to mention that all of the guitars featured on their new album were built by famed Bay Area luthier Jeff Traugott, a staple of the Santa Cruz Guitar Company for many years. While the group formed and came into its own in Los Angeles (all three members are graduates of USC’s prestigious guitar program), this performance at Yoshi’s, in many ways, represents the group coming full circle as established artists at a classic venue.\u003c/p>\n\u003cp>New West will be performing at Yoshi’s on Monday, July 13, 2009. For \u003ca href=\"http://www.yoshis.com/oakland\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>One tends to get a little suspicious of anything billed as a “new annual tradition,” but the First Annual Mother Hips Family Hipnic, taking place at the Henry Miller Library in Big Sur, CA this Fourth of July weekend, looks like it’d be a welcome alternative to the traditional barrage of patriotic festivities one tends to confront every year. The two-day festival is jointly curated by (((folkYEAH!))) Presents and “California Soul” band The Mother Hips; the former has been creating unique and compelling shows around Northern California for years, while the latter is one of the Bay’s most popular live bands. As a result, the lineup features a ton of great local and touring bands, mixing the former’s adventurous sensibilities with the latter’s California rock pedigree.\u003c/p>\n\u003cp>Both the July 3rd and July 4th dates feature compelling bills headlined by The Mother Hips. The show on the Fourth offers a full ten hours of music with plenty of potential highlights, including Little Wings, the folk-rock band led by musician and artist Kyle Field. Field grew up in San Luis Obispo, and collaborated with Jason Lytle of Grandaddy and others before heading north. His raw, lower-fi music bears the experimental imprint of the Pacific Northwest scene. Little Wings also draws from classic West Coast pop; he has released albums on Northwestern mainstays K Records and Marriage Records.\u003c/p>\n\u003cp>There are also some talented Los Angeles folks heading up for the show, including The Parson Red Heads, an Oregon-to-LA band that can deliver equally strong Byrdsian harmonies and electric guitar work. Everest is also making the trek to Big Sur for the Fourth, only they’ll be coming from a performance at the High Sierra Music Festival earlier in the weekend. The band released their debut album \u003cb>Ghost Notes\u003c/b> on Neil Young’s Vapor Records, and they’ve toured extensively with Young, Wilco and My Morning Jacket. It’s easy to see what caught Neil’s attention; the group’s melodic, classic rock-inspired sound feels drawn from their label head’s ability to mix groove and vulnerability.\u003c/p>\n\u003cp>Headliners The Mother Hips are rumored to be performing new songs this weekend, in anticipation of releasing a new record this fall. The quartet began in Chico almost two decades ago, and has experienced a number of ups and downs during their lengthy career, including a three album stint on Rick Rubin’s now-defunct American Recordings and a hiatus earlier this decade. With a varied psych-touched American rock-pop sound, The Mother Hips’ music seems to be something of an inkblot test for critics, with references ranging from The Bee Gees to The Band and plenty of variations in between.\u003c/p>\n\u003cp>Regardless of the sound, the group has acquired a devoted fan base through winning live performances — how many bands have a fan site dedicated to 24/7 streaming of their old live sets? — and they’re in good company this weekend. Equally important, it’s commendable that the band is involved in helping to introduce their audience to some of the Bay’s great young bands, and there are plenty of them on board for the Hipnic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Festival hours are 3pm-11pm on Friday, and 1pm-11pm on Saturday. Tickets are $25 per day or $45 for a two day pass (plus venue fees). Kids under age 11 get in for free. For \u003ca href=\"http://www.henrymiller.org/events.html#motherhips\">tickets and more information\u003c/a>, head to HenryMiller.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One tends to get a little suspicious of anything billed as a “new annual tradition,” but the First Annual Mother Hips Family Hipnic, taking place at the Henry Miller Library in Big Sur, CA this Fourth of July weekend, looks like it’d be a welcome alternative to the traditional barrage of patriotic festivities one tends to confront every year. The two-day festival is jointly curated by (((folkYEAH!))) Presents and “California Soul” band The Mother Hips; the former has been creating unique and compelling shows around Northern California for years, while the latter is one of the Bay’s most popular live bands. As a result, the lineup features a ton of great local and touring bands, mixing the former’s adventurous sensibilities with the latter’s California rock pedigree.\u003c/p>\n\u003cp>Both the July 3rd and July 4th dates feature compelling bills headlined by The Mother Hips. The show on the Fourth offers a full ten hours of music with plenty of potential highlights, including Little Wings, the folk-rock band led by musician and artist Kyle Field. Field grew up in San Luis Obispo, and collaborated with Jason Lytle of Grandaddy and others before heading north. His raw, lower-fi music bears the experimental imprint of the Pacific Northwest scene. Little Wings also draws from classic West Coast pop; he has released albums on Northwestern mainstays K Records and Marriage Records.\u003c/p>\n\u003cp>There are also some talented Los Angeles folks heading up for the show, including The Parson Red Heads, an Oregon-to-LA band that can deliver equally strong Byrdsian harmonies and electric guitar work. Everest is also making the trek to Big Sur for the Fourth, only they’ll be coming from a performance at the High Sierra Music Festival earlier in the weekend. The band released their debut album \u003cb>Ghost Notes\u003c/b> on Neil Young’s Vapor Records, and they’ve toured extensively with Young, Wilco and My Morning Jacket. It’s easy to see what caught Neil’s attention; the group’s melodic, classic rock-inspired sound feels drawn from their label head’s ability to mix groove and vulnerability.\u003c/p>\n\u003cp>Headliners The Mother Hips are rumored to be performing new songs this weekend, in anticipation of releasing a new record this fall. The quartet began in Chico almost two decades ago, and has experienced a number of ups and downs during their lengthy career, including a three album stint on Rick Rubin’s now-defunct American Recordings and a hiatus earlier this decade. With a varied psych-touched American rock-pop sound, The Mother Hips’ music seems to be something of an inkblot test for critics, with references ranging from The Bee Gees to The Band and plenty of variations in between.\u003c/p>\n\u003cp>Regardless of the sound, the group has acquired a devoted fan base through winning live performances — how many bands have a fan site dedicated to 24/7 streaming of their old live sets? — and they’re in good company this weekend. Equally important, it’s commendable that the band is involved in helping to introduce their audience to some of the Bay’s great young bands, and there are plenty of them on board for the Hipnic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Festival hours are 3pm-11pm on Friday, and 1pm-11pm on Saturday. Tickets are $25 per day or $45 for a two day pass (plus venue fees). Kids under age 11 get in for free. For \u003ca href=\"http://www.henrymiller.org/events.html#motherhips\">tickets and more information\u003c/a>, head to HenryMiller.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a seasoned music fan who has had the misfortune to follow bands into too many shitty night spots and bars to mention, I was overjoyed when I first heard California state officials had gone on the attack against a bunch of Bay Area venues. They were probably fighting against over-aggressive bouncers and surly bar staff, right? Maybe they planned to clean up the sweat-soaked walls, broken toilets, and sticky, drink-stained floors. Or perhaps they were leading a crusade against those stingy, undersized plastic beer cups. Yes! Go for it, fearless warriors of law and order.\u003c/p>\n\u003cp>But then I discovered the big problem was that the venues weren’t selling enough burgers and fries. Huh? Indeed, it turns out that the dispute between the California Department of \u003ca href=\"http://www.abc.ca.gov/\">Alcoholic Beverage Control\u003c/a> (ABC) and several of San Francisco’s finest music venues (who, it should be noted, are guilty of none of the above crimes, including the food part) makes almost no sense to anyone outside the administrative body that started it. Nevertheless, it could yet rip the heart out of the city’s vibrant live music scene.\u003c/p>\n\u003cp>The root of the problem lies in an odd quirk of California law, which divides liquor licenses into just two classifications: bar or restaurant. If you’re licensed as a bar, you aren’t allowed to admit minors. So, to be able to put on all-ages shows, music venues are required to operate as “restaurants” in the eyes of the law. How do they do that? Simple: they serve food. This is how places like \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>, \u003ca href=\"http://www.cafedunord.com/\">Cafe du Nord\u003c/a>, \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a>, and \u003ca href=\"http://www.slims-sf.com/\">Slim’s\u003c/a> have operated for years, serving up a steady diet of tunes (and grub) without significant incident or complaint from pretty much anyone. But last year, out of the blue, the ABC went on the offensive, accusing these four venues of petty problems such as not making enough of their income from food or changing details of their operating conditions, all with a view on forcing them to comply with tough new regulations the ABC appears to be improvising out of thin air. “If the ABC simply enforced the law as it is written there would be no problem,” explains Guy Carson, co-owner of the Cafe du Nord. “Instead, it is rewriting the rules as it goes.”\u003c/p>\n\u003cp>The venues are stuck: either they comply with nonsensical rules that will very likely force them out of business, or they continue to fight the ABC in court, spending thousands of dollars they don’t have, which will very likely force them out of business. No matter that these local employers are already struggling to survive in the present economic climate. No matter that they are essential parts of the city’s cultural landscape. No matter that no one (other than a few bureaucrats in Sacramento) seems to have a problem with the way these venues are being run. “We are a barely profitable, small business that does what we do for the love of music,” explains Lynn Wilkens, co-owner of the Bottom of the Hill. “Our legal fees have mounted this year to more than we make in profits. Already! We’d really like this to end now, and it has to for us.”\u003c/p>\n\u003cp>A flurry of news reports highlighting the battle earlier this year seemed, at first, to move the dispute in a positive direction, with the ABC making noises that it would seek to negotiate a remedy to the problem it had created. But now the venues believe it was simply stalling. “Despite reports from Mark Leno’s office and the ABC in regards to ‘working towards a solution,’ the ABC is not letting up on this,” says Leah Matanky, publicist for Great American Music Hall and Slim’s. “They have pushed our hearings back to an unknown later date in hopes that the press and attention will go away and then they can pursue their mission to shut us down without all the public outcry.” In the meantime, the venues are still spending money on lawyers; Carson describes the situation as “being in limbo, backing up legal fees.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The good news is that all four venues are still open, and determined to stay that way. But they need your help. “The fight is nowhere close to over and we still need all the support we can get from the public,” says Matanky. So what can you do? It’s simple. First, you can \u003ca href=\"http://www.abc.ca.gov/ContactUs.html\">contact the ABC\u003c/a> and \u003ca href=\"http://www.leginfo.ca.gov/yourleg.html\">your local political representatives\u003c/a> to let them know how you feel. Second, you can help the venues financially by going to shows. And third? You can even \u003ca href=\"http://www.slims-sf.com/tshirts/\">buy the T-shirt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fight the ABC? It’s as easy as 1-2-3.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a seasoned music fan who has had the misfortune to follow bands into too many shitty night spots and bars to mention, I was overjoyed when I first heard California state officials had gone on the attack against a bunch of Bay Area venues. They were probably fighting against over-aggressive bouncers and surly bar staff, right? Maybe they planned to clean up the sweat-soaked walls, broken toilets, and sticky, drink-stained floors. Or perhaps they were leading a crusade against those stingy, undersized plastic beer cups. Yes! Go for it, fearless warriors of law and order.\u003c/p>\n\u003cp>But then I discovered the big problem was that the venues weren’t selling enough burgers and fries. Huh? Indeed, it turns out that the dispute between the California Department of \u003ca href=\"http://www.abc.ca.gov/\">Alcoholic Beverage Control\u003c/a> (ABC) and several of San Francisco’s finest music venues (who, it should be noted, are guilty of none of the above crimes, including the food part) makes almost no sense to anyone outside the administrative body that started it. Nevertheless, it could yet rip the heart out of the city’s vibrant live music scene.\u003c/p>\n\u003cp>The root of the problem lies in an odd quirk of California law, which divides liquor licenses into just two classifications: bar or restaurant. If you’re licensed as a bar, you aren’t allowed to admit minors. So, to be able to put on all-ages shows, music venues are required to operate as “restaurants” in the eyes of the law. How do they do that? Simple: they serve food. This is how places like \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>, \u003ca href=\"http://www.cafedunord.com/\">Cafe du Nord\u003c/a>, \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a>, and \u003ca href=\"http://www.slims-sf.com/\">Slim’s\u003c/a> have operated for years, serving up a steady diet of tunes (and grub) without significant incident or complaint from pretty much anyone. But last year, out of the blue, the ABC went on the offensive, accusing these four venues of petty problems such as not making enough of their income from food or changing details of their operating conditions, all with a view on forcing them to comply with tough new regulations the ABC appears to be improvising out of thin air. “If the ABC simply enforced the law as it is written there would be no problem,” explains Guy Carson, co-owner of the Cafe du Nord. “Instead, it is rewriting the rules as it goes.”\u003c/p>\n\u003cp>The venues are stuck: either they comply with nonsensical rules that will very likely force them out of business, or they continue to fight the ABC in court, spending thousands of dollars they don’t have, which will very likely force them out of business. No matter that these local employers are already struggling to survive in the present economic climate. No matter that they are essential parts of the city’s cultural landscape. No matter that no one (other than a few bureaucrats in Sacramento) seems to have a problem with the way these venues are being run. “We are a barely profitable, small business that does what we do for the love of music,” explains Lynn Wilkens, co-owner of the Bottom of the Hill. “Our legal fees have mounted this year to more than we make in profits. Already! We’d really like this to end now, and it has to for us.”\u003c/p>\n\u003cp>A flurry of news reports highlighting the battle earlier this year seemed, at first, to move the dispute in a positive direction, with the ABC making noises that it would seek to negotiate a remedy to the problem it had created. But now the venues believe it was simply stalling. “Despite reports from Mark Leno’s office and the ABC in regards to ‘working towards a solution,’ the ABC is not letting up on this,” says Leah Matanky, publicist for Great American Music Hall and Slim’s. “They have pushed our hearings back to an unknown later date in hopes that the press and attention will go away and then they can pursue their mission to shut us down without all the public outcry.” In the meantime, the venues are still spending money on lawyers; Carson describes the situation as “being in limbo, backing up legal fees.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"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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}
},
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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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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
"site": "news",
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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