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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The indie rock-pop band, Papercuts, led by San Franciscan Jason Quever, have released a series of well-received albums, culminating with \u003cb>You Can Have What You Want\u003c/b>, which was released this April on Andy Cabic and Devendra Banhart’s \u003ca href=\"http://www.gnomonsong.com/\">Gnomonsong label\u003c/a>. Quever has collaborated with Cabic’s band Vetiver before, and has been involved in recording and producing a wide variety of projects at his Pan American Recording Studio. Having your own home analog studio means you can take the time to perfect a warm, vintage-referencing sound, so it’s little surprise that \u003cb>You Can Have What You Want\u003c/b> expertly sculpts nostalgic California pop into something thoroughly modern.\u003c/p>\n\u003cp>\u003cb>You Can Have What You Want\u003c/b> is definitely a shift for Papercuts, but it’s not out of left field. After the band’s 2007 release, \u003cb>Can’t Go Back\u003c/b>, Quever found himself moving past that album’s Byrdsian folk-rock, and becoming more interested in embracing the dreamy-pop sounds that have long touched his works. With the new album, the warm haze is front and center, with Quever’s vocals resting atop gorgeous layers of warm keyboards, an aesthetic likely influenced by Alex Scally’s (Beach House) involvement. As discussed in the interview, Scally’s role was hard to define, but it’s notable as the first time Quever has had a collaborator so involved in crafting Papercuts’ sound. Where Papercuts go next is anyone’s guess, but \u003cb>You Can Have What You Want\u003c/b> is an affecting work from this talented band.\u003c/p>\n\u003cp>We sat down with Jason to discuss the band’s early days and the new album. We’ve included four Papercuts songs in the episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, June 25, 2009\u003cbr>The Independent\u003cbr>with Port O’Brien and Still Flyin’\u003cbr>8pm, $13/$15\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There may be a chicken-egg debate about whether Battlehooch the identity (lifestyle? performance art project?) preceded Battlehooch the band, but I know that the former was definitely what I saw first, as the band’s members grabbed the attention of members of the local music community by attending local shows in packs, dressed in headbands (“Battlerags”) emblazoned with the group’s name. With home-engineered generators, the sextet has developed a reputation as play-anywhere street performers, but I first saw the band live at Bottom of the Hill, where they’ll be celebrating the release of their new album on June 24th. It was there that their reputation became truly musical for me, as the group delivered a blast of frenzied compositional art-rock that could have been either one song or one hundred, with few breaks and overwhelming enthusiasm throughout.\u003c/p>\n\u003cp>After a limited run debut EP titled \u003cb>Oof Owf\u003c/b>, Battlehooch are self-releasing \u003cb>Piecechow\u003c/b> this month, a full length debut that finds the band applying a kitchen sink approach to create a batch of highly enjoyable and fully-formed songs out of layers of guitars, horns, woodwinds, and electronic instruments. Time and again, the sextet tempts chaos on the album, as they avoid repetitive verse-chorus-verse songwriting and seem unafraid to tackle any instrument. Is it a surprise that they’re former music majors who all live together in a Sunset District house where they’ve written and recorded both releases? Or is it more surprising that they’ve found a way to create something that’s as brazenly funky as it is proggy? It’s difficult not to be reminded by the band’s sax lines of James Chance, the late ’70s No Wave artist who composed nervy R&B as tense as it was soulful. Battlehooch carry that torch forward on \u003cb>Piecechow\u003c/b>, adding layer upon layer to create engaging, melodic mini-epics that further blossom in the live setting.\u003c/p>\n\u003cp>The headliner of Battlehooch’s \u003cb>Piecechow\u003c/b> release party, Deastro (home-recording savant Randolph Chabot) released three albums of anthemic synth-rock before \u003cb>Keepers\u003c/b>, a collection of his self-described “space symphonies,” brought significant acclaim outside of his native Detroit. \u003cb>Moondagger\u003c/b>, is the 22-year-old’s first recording with a full band, and the new approach adds an organic depth that should pay dividends in the live setting. Like the ‘hooch, Deastro’s surging, ebullient tracks have a certain theatricality to them, like the one titled “Daniel Johnston Was Stabbed In The Heart With The Moondagger By The King Of Darkness And His Ghost Is Writing This Song As A Warning To All Of Us.”\u003c/p>\n\u003cp>Opening the June 24th show, locals Tempo No Tempo were once steeped in a danceable uptempo sound, but they’ve begun evolving into something simultaneously more dissonant and disco. Boldly abandoning the aesthetic that informed their first EP, and to a lesser degree their second, the SF/Oakland trio is now working on capturing their new approach on record.\u003c/p>\n\u003cp>The show is Wednesday, June 24, 2009 at \u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> in San Francisco. 9pm, $8 advance/$10 door, 18+.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>Fresh off a European tour that saw them playing the All Tomorrow’s Parties and Primavera Festivals, San Francisco’s Sleepy Sun return home Friday, June 19th to celebrate the release of their debut CD \u003cb>Embrace\u003c/b> at the Great American Music Hall. The psych rock band’s debut, out June 16th on ATP Recordings, has been receiving justly strong reviews, as have their energized live shows, and the opportunity to see a sure-to-be packed show featuring similarly talented supporting bands is an opportunity too good to pass up.\u003c/p>\n\u003cp>Sleepy Sun formed a few years ago in Santa Cruz, birthplace to psych rock bands like the influential Comets on Fire and popular psych experimentalists Mammatus. The group — whose members are all in their early twenties — eventually migrated to the City as many Santa Cruz bands do, and found a strong reception in the Bay Area before heading to Vancouver in January 2008 to record with Colin Stewart (Black Mountain, The Cave Singers). As that timeline might suggest, \u003cb>Embrace\u003c/b> has been floating around for a while — early on, the band was offering it up for free download — but now sees a proper release that has made the band one of Bay Area indie music’s most visible international ambassadors this year.\u003c/p>\n\u003cp>For a band best categorized as psych rock, and capable of intense, electrified moments, one of \u003cb>Embrace’s\u003c/b> great treats is the balance maintained between that heavy side and brighter sounds throghout. Moments like the way acoustic guitars add new dimensions to “New Age” and “Red/Black” or how vocalists Rachael Williams and Bret Constantino manage to float above, but not beyond, psychedelic workouts like “New Age” and “Sleepy Son” add a magnificent layered depth that helps prevent the group from ever getting bogged down. While the jams hint at the band’s entrancing live shows, softer songs like “Lord” and “Golden Artifact” show their ability to create haunting, simply staggering melodies. The former, in particular, is on my short list for songs of the year; if “psych rock” is anathema to you, give this piano-driven folk-rock ballad a chance and see if it can’t lure you in to \u003cb>Embrace\u003c/b>.\u003c/p>\n\u003cp>Sleepy Sun’s Constantino and Evan Reese recently lent vocal harmonies to “Two Birds,” an early standout from \u003cb>When Sweet Sleep Returned\u003c/b>, the latest album by San Francisco’s Assemble Head in Sunburst Sound, who open the CD release show. Their new album is the band’s third, and finds them balancing Neil Youngian American rock and roll with the trippier explorations enabled by having a resident thermin/synth player. After the show, they’ll be heading on a brief West Coast tour with fellow Tee Pee Records band Weird Owl.\u003c/p>\n\u003cp>Los Angeles-based Spindrift also performs on Friday. The band’s music blends the sounds of Spaghetti Westerns into its psychedelia, and they’ve taken their filmic qualities to new levels by actually making an independent Western titled \u003cb>The Legend of God’s Gun\u003c/b> based on one of their albums. The band’s been compared to The Dandy Warhols, appropriate enough considering that their latest release, 2008’s \u003cb>The West\u003c/b> was released on the Dandys’ Beat the World record label.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buy tickets to the show, Friday, June 19, 2009 at the Great American Music Hall at \u003ca href=\"http://www.gamhtickets.com/events/34486/Sleepy-Sun-CD-Release-Party-\">GAMHTickets.com\u003c/a>. The show starts at 9pm, is $13 and is all ages.\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>Fresh off a European tour that saw them playing the All Tomorrow’s Parties and Primavera Festivals, San Francisco’s Sleepy Sun return home Friday, June 19th to celebrate the release of their debut CD \u003cb>Embrace\u003c/b> at the Great American Music Hall. The psych rock band’s debut, out June 16th on ATP Recordings, has been receiving justly strong reviews, as have their energized live shows, and the opportunity to see a sure-to-be packed show featuring similarly talented supporting bands is an opportunity too good to pass up.\u003c/p>\n\u003cp>Sleepy Sun formed a few years ago in Santa Cruz, birthplace to psych rock bands like the influential Comets on Fire and popular psych experimentalists Mammatus. The group — whose members are all in their early twenties — eventually migrated to the City as many Santa Cruz bands do, and found a strong reception in the Bay Area before heading to Vancouver in January 2008 to record with Colin Stewart (Black Mountain, The Cave Singers). As that timeline might suggest, \u003cb>Embrace\u003c/b> has been floating around for a while — early on, the band was offering it up for free download — but now sees a proper release that has made the band one of Bay Area indie music’s most visible international ambassadors this year.\u003c/p>\n\u003cp>For a band best categorized as psych rock, and capable of intense, electrified moments, one of \u003cb>Embrace’s\u003c/b> great treats is the balance maintained between that heavy side and brighter sounds throghout. Moments like the way acoustic guitars add new dimensions to “New Age” and “Red/Black” or how vocalists Rachael Williams and Bret Constantino manage to float above, but not beyond, psychedelic workouts like “New Age” and “Sleepy Son” add a magnificent layered depth that helps prevent the group from ever getting bogged down. While the jams hint at the band’s entrancing live shows, softer songs like “Lord” and “Golden Artifact” show their ability to create haunting, simply staggering melodies. The former, in particular, is on my short list for songs of the year; if “psych rock” is anathema to you, give this piano-driven folk-rock ballad a chance and see if it can’t lure you in to \u003cb>Embrace\u003c/b>.\u003c/p>\n\u003cp>Sleepy Sun’s Constantino and Evan Reese recently lent vocal harmonies to “Two Birds,” an early standout from \u003cb>When Sweet Sleep Returned\u003c/b>, the latest album by San Francisco’s Assemble Head in Sunburst Sound, who open the CD release show. Their new album is the band’s third, and finds them balancing Neil Youngian American rock and roll with the trippier explorations enabled by having a resident thermin/synth player. After the show, they’ll be heading on a brief West Coast tour with fellow Tee Pee Records band Weird Owl.\u003c/p>\n\u003cp>Los Angeles-based Spindrift also performs on Friday. The band’s music blends the sounds of Spaghetti Westerns into its psychedelia, and they’ve taken their filmic qualities to new levels by actually making an independent Western titled \u003cb>The Legend of God’s Gun\u003c/b> based on one of their albums. The band’s been compared to The Dandy Warhols, appropriate enough considering that their latest release, 2008’s \u003cb>The West\u003c/b> was released on the Dandys’ Beat the World record label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week’s podcast profiles Grand Lake, an Oakland quartet whose debut release \u003cb>Nevermint\u003c/b> has generated much excitement for their engaging, stripped-down indie rock. The band’s led by bassist-singer Caleb Nichols (formerly of Port O’Brien), who reunited with longtime friend and Bloody Heads bandmate Jameson Swanagon (guitar) to record some songs and recruited Erika Pipkin (vocals/keys) and Ryan Parks (recently replaced by John Pomeroy on drums) for the project. For a group that developed in the studio, it’s a little surprising to see how strong the band’s innate chemistry is on both stage and record.\u003c/p>\n\u003cp>\u003cb>Nevermint\u003c/b> is a diverse album, the sound of a band defining itself in part by establishing its boundaries. It can be anthemic and urgent (“Concrete Blonde on Blonde” and “She’s A Hater”) or pensive and introspective (“Nevermint” and “Blue Hoodie”), and there’s an excitement to watching the band grow and change over the course of the release. Regardless of the mood, though, certain elements are constant throughout — most notably the band’s mastery of building engaging melodies and dynamic shifts from minimalist layers. Most promising, the group’s new cassingle — out this month — features two great new songs that show them further exploring these songwriting weapons. With a commitment to touring and further recording in the near future, keep watch for big things from Grand Lake.\u003c/p>\n\u003cp>We sat down with Caleb, Jameson and Erika at The Bay Bridged Studio recently to discuss the band’s formation, \u003cb>Nevermint\u003c/b>, and their upcoming releases. We’ve included four Grand Lake songs in the episode, including tracks from both the debut record and their new cassingle Sandusky Sunset.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, June 11th\u003cbr>\u003ca href=\"http://www.elriosf.com/\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>\u003cbr>with Beatbeat Whisper and The Heated (The Deli SF Presents)\u003cbr>9pm, $5\u003c/p>\n\u003cp>Grand Lake has a number of upcoming shows this summer. Visit their \u003ca href=\"http://www.myspace.com/grandlakemusic\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> for all the dates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s podcast profiles Grand Lake, an Oakland quartet whose debut release \u003cb>Nevermint\u003c/b> has generated much excitement for their engaging, stripped-down indie rock. The band’s led by bassist-singer Caleb Nichols (formerly of Port O’Brien), who reunited with longtime friend and Bloody Heads bandmate Jameson Swanagon (guitar) to record some songs and recruited Erika Pipkin (vocals/keys) and Ryan Parks (recently replaced by John Pomeroy on drums) for the project. For a group that developed in the studio, it’s a little surprising to see how strong the band’s innate chemistry is on both stage and record.\u003c/p>\n\u003cp>\u003cb>Nevermint\u003c/b> is a diverse album, the sound of a band defining itself in part by establishing its boundaries. It can be anthemic and urgent (“Concrete Blonde on Blonde” and “She’s A Hater”) or pensive and introspective (“Nevermint” and “Blue Hoodie”), and there’s an excitement to watching the band grow and change over the course of the release. Regardless of the mood, though, certain elements are constant throughout — most notably the band’s mastery of building engaging melodies and dynamic shifts from minimalist layers. Most promising, the group’s new cassingle — out this month — features two great new songs that show them further exploring these songwriting weapons. With a commitment to touring and further recording in the near future, keep watch for big things from Grand Lake.\u003c/p>\n\u003cp>We sat down with Caleb, Jameson and Erika at The Bay Bridged Studio recently to discuss the band’s formation, \u003cb>Nevermint\u003c/b>, and their upcoming releases. We’ve included four Grand Lake songs in the episode, including tracks from both the debut record and their new cassingle Sandusky Sunset.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, June 11th\u003cbr>\u003ca href=\"http://www.elriosf.com/\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>\u003cbr>with Beatbeat Whisper and The Heated (The Deli SF Presents)\u003cbr>9pm, $5\u003c/p>\n\u003cp>Grand Lake has a number of upcoming shows this summer. Visit their \u003ca href=\"http://www.myspace.com/grandlakemusic\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> for all the dates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the Ten Commandments of Rock states that certain albums from each era will become “great.” These immutable classics are the ones that top list after list of all-time favorites, becoming immunized to the ravages of time or whims of fashion by a lazy drip-drip of critical praise. Albums like \u003cb>Sgt. Pepper’s Lonely Hearts Club Band\u003c/b>, \u003cb>Dark Side of the Moon\u003c/b>, \u003cb>OK Computer\u003c/b>. But these particular untouchable masterpieces have something else in common other than slightly over-inflated reputations. All three have also been re-recorded in their entireties by an evolving group of fearless musical adventurers called the Easy Star All-Stars, based around the New York reggae record label Easy Star.\u003c/p>\n\u003cp>\u003cb>Dark Side of the Moon\u003c/b> was the first in 2003, refracted through a prism of red, gold, and green light to become \u003cb>Dub Side of the Moon\u003c/b>. The concept sounded like a bit of a joke at first (and the added samples of clicking lighters and bubbling bongs probably didn’t help in this regard), but overall what resulted was the sound of a stoner favorite coming home to its ganja roots, as Pink Floyd’s tunes settled seamlessly into their new dub, dancehall, and drum ‘n’ bass surroundings. Three years later came the even less obvious choice of Radiohead’s \u003cb>OK Computer\u003c/b>, and another triumph for music over snobbishness. With a deft lightness of touch, the \u003cb>Radiodread\u003c/b> album celebrated the original’s experimentalism, but also smoothed off the roughest edges of Thom Yorke’s alienated paranoia with a new layer of emotional tenderness. Both albums work so well that a casual listener could almost be forgiven for wondering whose version came first.\u003c/p>\n\u003cp>And now the Easy Star All-Stars have taken on perhaps the holiest of rock’s holy cows, a record so revered that critics are almost legally obliged to use adjectives like “seminal” and “revolutionary” before mentioning its hallowed name. Undaunted by such earthly considerations, \u003ca href=\"http://www.easystar.com/releases/show/22\" target=\"offsite\" rel=\"noopener\">\u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b>\u003c/a> once again adds a welcome new perspective on an album most music fans think they know backward (perhaps literally if you’ve ever tried to find those hidden messages about \u003ca href=\"http://en.wikipedia.org/wiki/Paul_is_dead\" target=\"offsite\" rel=\"noopener\">Paul’s unfortunate death\u003c/a>). Listening to this new version, I realized how little I really knew the original. It was as if it had disappeared in my mind under the weight of its own reknown. Of course, it is also fitting that this famously experimental album should find new life in reggae and dub, a genre that has, over the years, relied so heavily on innovation and creativity in the studio.\u003c/p>\n\u003cp>As with the previous All-Star efforts, it’s the album’s most psychedelic moments that are given the extended dub treatment, with tracks like “Lucy In The Sky With Diamonds” and, particularly, “Fixing A Hole (Extended Dub Mix)” responding well to the extra space and bass. But it’s \u003cb>Sgt. Pepper’s\u003c/b> weakest links that are exploited to greatest effect: the stolid, dum-te-dum plunk of tracks such as “With A Little Help From My Friends” and “Good Morning, Good Morning” emerge fresh and alive after receiving healthy injections of dancehall bounce. Even “A Day In The Life” veers dangerously close to becoming a party tune, and is worth listening to if only to hear Menny More sing: “Woke up, fell out of bed, dragged my fingers through my dreads.”\u003c/p>\n\u003cp>Best of all, the All-Stars remind us that \u003cb>Sgt. Pepper’s\u003c/b> is, first and foremost, a pop album — which was also one of the main reasons it was so important when it was first released. Of course, whether you like this version or not is going to depend a lot on how dearly you hold the Beatles’ original. But, personally, I believe it’s always a joy to see someone — anyone — refuse to be intimidated by the gods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Easy Star All Stars play \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco on June 20, 2009. \u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b> is out now on \u003ca href=\"http://www.easystar.com/\" target=\"offsite\" rel=\"noopener\">Easy Star Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Ten Commandments of Rock states that certain albums from each era will become “great.” These immutable classics are the ones that top list after list of all-time favorites, becoming immunized to the ravages of time or whims of fashion by a lazy drip-drip of critical praise. Albums like \u003cb>Sgt. Pepper’s Lonely Hearts Club Band\u003c/b>, \u003cb>Dark Side of the Moon\u003c/b>, \u003cb>OK Computer\u003c/b>. But these particular untouchable masterpieces have something else in common other than slightly over-inflated reputations. All three have also been re-recorded in their entireties by an evolving group of fearless musical adventurers called the Easy Star All-Stars, based around the New York reggae record label Easy Star.\u003c/p>\n\u003cp>\u003cb>Dark Side of the Moon\u003c/b> was the first in 2003, refracted through a prism of red, gold, and green light to become \u003cb>Dub Side of the Moon\u003c/b>. The concept sounded like a bit of a joke at first (and the added samples of clicking lighters and bubbling bongs probably didn’t help in this regard), but overall what resulted was the sound of a stoner favorite coming home to its ganja roots, as Pink Floyd’s tunes settled seamlessly into their new dub, dancehall, and drum ‘n’ bass surroundings. Three years later came the even less obvious choice of Radiohead’s \u003cb>OK Computer\u003c/b>, and another triumph for music over snobbishness. With a deft lightness of touch, the \u003cb>Radiodread\u003c/b> album celebrated the original’s experimentalism, but also smoothed off the roughest edges of Thom Yorke’s alienated paranoia with a new layer of emotional tenderness. Both albums work so well that a casual listener could almost be forgiven for wondering whose version came first.\u003c/p>\n\u003cp>And now the Easy Star All-Stars have taken on perhaps the holiest of rock’s holy cows, a record so revered that critics are almost legally obliged to use adjectives like “seminal” and “revolutionary” before mentioning its hallowed name. Undaunted by such earthly considerations, \u003ca href=\"http://www.easystar.com/releases/show/22\" target=\"offsite\" rel=\"noopener\">\u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b>\u003c/a> once again adds a welcome new perspective on an album most music fans think they know backward (perhaps literally if you’ve ever tried to find those hidden messages about \u003ca href=\"http://en.wikipedia.org/wiki/Paul_is_dead\" target=\"offsite\" rel=\"noopener\">Paul’s unfortunate death\u003c/a>). Listening to this new version, I realized how little I really knew the original. It was as if it had disappeared in my mind under the weight of its own reknown. Of course, it is also fitting that this famously experimental album should find new life in reggae and dub, a genre that has, over the years, relied so heavily on innovation and creativity in the studio.\u003c/p>\n\u003cp>As with the previous All-Star efforts, it’s the album’s most psychedelic moments that are given the extended dub treatment, with tracks like “Lucy In The Sky With Diamonds” and, particularly, “Fixing A Hole (Extended Dub Mix)” responding well to the extra space and bass. But it’s \u003cb>Sgt. Pepper’s\u003c/b> weakest links that are exploited to greatest effect: the stolid, dum-te-dum plunk of tracks such as “With A Little Help From My Friends” and “Good Morning, Good Morning” emerge fresh and alive after receiving healthy injections of dancehall bounce. Even “A Day In The Life” veers dangerously close to becoming a party tune, and is worth listening to if only to hear Menny More sing: “Woke up, fell out of bed, dragged my fingers through my dreads.”\u003c/p>\n\u003cp>Best of all, the All-Stars remind us that \u003cb>Sgt. Pepper’s\u003c/b> is, first and foremost, a pop album — which was also one of the main reasons it was so important when it was first released. Of course, whether you like this version or not is going to depend a lot on how dearly you hold the Beatles’ original. But, personally, I believe it’s always a joy to see someone — anyone — refuse to be intimidated by the gods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Attention, audiophiles! There is a perfect storm of the category 5 variety heading our way. The kind of tempest that will wrap your new car around a tree and blow your house down. But, worry not: you’ll enjoy being blown away by three of my favorite bands, Bat for Lashes, Neko Case, and Camera Obscura (girls, girls, girls!), as they breeze through San Francisco in the span of five days.\u003c/p>\n\u003cp>Natasha Khan, the woman behind Bat for Lashes, refuses to water down her inner freak. She indulges in an alter-ego named Pearl, enjoys making music on 19th century instruments like the Marxophone, and openly celebrates her enduring crush on \u003cb>The Karate Kid\u003c/b>‘s Daniel LaRusso. Her new album, \u003cb>Two Suns\u003c/b>, also breaks from convention; she’ll go from retro mystic on one song to futuristic metal on another. And, judging by her \u003ca href=\"http://www.youtube.com/watch?v=WCAgNmEGScA\" target=\"offsite\" rel=\"noopener\">recent appearance on British television\u003c/a>, her live show will prove just as unpredictable.\u003c/p>\n\u003cp>Neko Case’s smokey twang appears all over records by other bands, most notably the New Pornographers, but Neko is at her best when she’s out on her own as proven on her latest, \u003cb>Middle Cyclone\u003c/b>. She doesn’t tour around these parts very often so take advantage while you can.\u003c/p>\n\u003cp>Camera Obscura is known for their sugary twee pop laced with a dash of bitters. Their new album, \u003cb>My Maudlin Career\u003c/b>, sticks to this winning formula. Biting sarcasm finds its way into tracks that, on first listen, sound like love songs. On “Swans,” Tracyanne Campbell scoffs: “So you want to be a writer? Fantasic idea!” Sugary, yes, but never too sweet.\u003c/p>\n\u003cp>All three acts have turned harsh critics into drooling admirers with their new releases. Alas, not everyone has the time to stay on top of what’s fresh in the music scene so I’ve decided to share the very best that these three LPs have to offer so you will be well-equipped when the curtain goes up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Camera Obscura plays \u003ca href=\"http://www.livenation.com/venue/the-fillmore-tickets\" target=\"offsite\" rel=\"noopener\">The Fillmore\u003c/a> on June 8, 2009 with opener \u003ca href=\"http://www.myspace.com/agentribbons\" target=\"offsite\" rel=\"noopener\">Agent Ribbons\u003c/a>. Neko Case rocks \u003ca href=\"http://thewarfieldtheatre.com/\" target=\"offsite\" rel=\"noopener\">The Warfield\u003c/a> on June 9 and 10, 2009. And Bat for Lashes charms the masses on June 13, 2009 at the \u003ca href=\"http://www.gamh.com/artist_pages/bat_for_lashes_061309.htm\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> with opener \u003ca href=\"http://www.hecubahecuba.com/\" target=\"offsite\" rel=\"noopener\">Hecuba\u003c/a>.Go on and get some tickets before they sell out. You don’t want your obnoxious friend telling you what killer shows you missed.\u003c/p>\n\n",
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"content": "\u003cp>Could the New York Philharmonic be to blame for North Korea’s latest nuclear test? Perhaps not, but the Phil’s Pyongyang performance provided provoking metaphors and subtly veiled symbolism — and maybe an argument for letting artists, not diplomats, do the talking.\u003c/p>\n\u003cp>If former US Attorney General John Ashcroft’s \u003ca href=\"http://www.youtube.com/watch?v=woLQI8X2R6Y\">“Let the Eagle Soar”\u003c/a> is any indication, maybe we shouldn’t be in the business of mixing music and policy.\u003c/p>\n\u003cp>However, the New York Philharmonic begs to differ. In February 2008, the world-renowned symphony orchestra traveled to the Asian headquarters of the Axis of Evil, Pyongyang, North Korea, to perform one of the most inspiring acts of musical diplomacy the world stage has ever seen. The DVD of this concert has just recently been released and is available through the \u003ca href=\"http://nyphil.org/buy/eStore\">New York Philharmonic’s website\u003c/a>.\u003c/p>\n\u003cp>With the help of Musical Director Lorin Maazel, the Philharmonic carefully crafted a performance filled with undertones — some diplomatic, some patriotic, some empathetic — all contributing to the historic nature of the event and the ability of the arts to distill anything, even the negotiations of two nations that are, at least in theory, at war with each other. 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Translate this into modern diplomacy, and this could very easily be seen as an outstretched hand to the leaders of a failing, unsustainable state, paired with a reminder of the consequences for not heeding the conditions laid out by negotiators.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next came an even more obvious message with the performance of Dvorak’s most famous work, “Symphony No. 9 in E minor,” known by most as the “New World Symphony.” This piece is the epitome of American nationalism. Commissioned by the New York Philharmonic in 1893, Dvorak used the piece as a template for combining what he thought were the most American of sounds — Native American and African-American folk melodies. Not only was this performance an opportunity for the Phil to tout its tradition, but perhaps this was also meant as a reminder to North Koreans of the inclusiveness that Americans (in theory) pride themselves on. (Let’s not get into Prop. 8 right now.)\u003c/p>\n\u003cp>The final announced piece for the performance was introduced by a joke. “Someday a composer may write a work titled ‘Americans in Pyongyang,'” Maazel said playfully in reference to Gershwin’s “An American in Paris.” Just as Gershwin had reflected upon the “triumphant” French atmosphere with his timeless tone poem, members of the Phil were offering their own musical experiences as visiting foreigners. But beyond that, the piece invoked Gershwin’s attempt to understand and appreciate a different culture, and offered a point of reflection on just how much smaller the world is today than it was when Gershwin put his pen to notation staves in 1928.\u003c/p>\n\u003cp>Finally, came the unannounced addition to the program: a performance of a quintessential Korean folk song, “Arirang.” A song that is equally poignant in both North and South Korea, its lyrics describe the longing of two lovers to reunite, offering a not-so-subtle parallel to the possibility of Korean reunification. According to those who were present, the ovation after “Arirang” lasted for five minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in light of North Korea’s \u003ca href=\"http://www.nytimes.com/2009/05/25/world/asia/25nuke.html\">latest bout of defiance\u003c/a>, how should we interpret the Philharmonic’s performance? Too appeasing? Too confrontational? Too moralizing? Too sentimental? Perhaps the Phil should have played Beethoven’s ominous “Symphony No. 5,” or Stravinsky’s bold and insubordinate “Firebird Suite.” Maybe Maazel should have just passed the conductor’s baton to John Bolton for a more in-your-face performance. Just as Obama and Clinton are working to adapt and refine our diplomatic policy towards North Korea, maybe Michael Tilson Thomas or Gustavo Dudamel will brave the trip across the Pacific with a new musical strategy for defeating terrorism.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Could the New York Philharmonic be to blame for North Korea’s latest nuclear test? Perhaps not, but the Phil’s Pyongyang performance provided provoking metaphors and subtly veiled symbolism — and maybe an argument for letting artists, not diplomats, do the talking.\u003c/p>\n\u003cp>If former US Attorney General John Ashcroft’s \u003ca href=\"http://www.youtube.com/watch?v=woLQI8X2R6Y\">“Let the Eagle Soar”\u003c/a> is any indication, maybe we shouldn’t be in the business of mixing music and policy.\u003c/p>\n\u003cp>However, the New York Philharmonic begs to differ. In February 2008, the world-renowned symphony orchestra traveled to the Asian headquarters of the Axis of Evil, Pyongyang, North Korea, to perform one of the most inspiring acts of musical diplomacy the world stage has ever seen. The DVD of this concert has just recently been released and is available through the \u003ca href=\"http://nyphil.org/buy/eStore\">New York Philharmonic’s website\u003c/a>.\u003c/p>\n\u003cp>With the help of Musical Director Lorin Maazel, the Philharmonic carefully crafted a performance filled with undertones — some diplomatic, some patriotic, some empathetic — all contributing to the historic nature of the event and the ability of the arts to distill anything, even the negotiations of two nations that are, at least in theory, at war with each other. With top North Korean officials present and an estimated 200 million people around the world (including many North Koreans) watching the performance on live television, the Phil began with something unthinkable to a Bush State of the Union speechwriter — the side-by-side performance of North Korea’s national anthem, “Aegukka,” and “The Star Spangled Banner.”\u003c/p>\n\u003cp>After that, the Phil wasted no time in pouring on the symbolism. First up was the Prelude from Act III of Wagner’s classic opera “Lohengrin,” a work most famous in popular culture for its Bridal Chorus, most commonly know as “Here Comes the Bride.” However, look just below the surface to find a thinly veiled message (not bride) for the North Korean people. “Lohengrin” follows the plot line of the “Knight of the Swan,” a medieval folklore about a knight who comes in a swan-drawn boat to rescue a damsel in distress under one condition: that she never ask his name. Translate this into modern diplomacy, and this could very easily be seen as an outstretched hand to the leaders of a failing, unsustainable state, paired with a reminder of the consequences for not heeding the conditions laid out by negotiators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next came an even more obvious message with the performance of Dvorak’s most famous work, “Symphony No. 9 in E minor,” known by most as the “New World Symphony.” This piece is the epitome of American nationalism. Commissioned by the New York Philharmonic in 1893, Dvorak used the piece as a template for combining what he thought were the most American of sounds — Native American and African-American folk melodies. Not only was this performance an opportunity for the Phil to tout its tradition, but perhaps this was also meant as a reminder to North Koreans of the inclusiveness that Americans (in theory) pride themselves on. (Let’s not get into Prop. 8 right now.)\u003c/p>\n\u003cp>The final announced piece for the performance was introduced by a joke. “Someday a composer may write a work titled ‘Americans in Pyongyang,'” Maazel said playfully in reference to Gershwin’s “An American in Paris.” Just as Gershwin had reflected upon the “triumphant” French atmosphere with his timeless tone poem, members of the Phil were offering their own musical experiences as visiting foreigners. But beyond that, the piece invoked Gershwin’s attempt to understand and appreciate a different culture, and offered a point of reflection on just how much smaller the world is today than it was when Gershwin put his pen to notation staves in 1928.\u003c/p>\n\u003cp>Finally, came the unannounced addition to the program: a performance of a quintessential Korean folk song, “Arirang.” A song that is equally poignant in both North and South Korea, its lyrics describe the longing of two lovers to reunite, offering a not-so-subtle parallel to the possibility of Korean reunification. According to those who were present, the ovation after “Arirang” lasted for five minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in light of North Korea’s \u003ca href=\"http://www.nytimes.com/2009/05/25/world/asia/25nuke.html\">latest bout of defiance\u003c/a>, how should we interpret the Philharmonic’s performance? Too appeasing? Too confrontational? Too moralizing? Too sentimental? Perhaps the Phil should have played Beethoven’s ominous “Symphony No. 5,” or Stravinsky’s bold and insubordinate “Firebird Suite.” Maybe Maazel should have just passed the conductor’s baton to John Bolton for a more in-your-face performance. Just as Obama and Clinton are working to adapt and refine our diplomatic policy towards North Korea, maybe Michael Tilson Thomas or Gustavo Dudamel will brave the trip across the Pacific with a new musical strategy for defeating terrorism.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicago-based sculptor Nick Cave titled his show at the Yerba Buena Center for the Arts, \u003cb>Meet Me at the Center of the Earth\u003c/b> and when you step in to the exhibit, it is immediately apparent why. The scene that unfolds in front of you is at once alien and familiar; forty figures in “soundsuits” are arranged on four platforms that extend out from the middle of the room. They vary in size, shape and constituent material — human hair, buttons, feathers, and beads, either by themselves or woven into metal apparatuses or stitched into sequined sweaters straight out of the ’80s — but all maintain a vaguely human form, even if only apparent from the feet that peek out below each suit.\u003c/p>\n\u003cp>Looming over you immediately as you enter is a life-size bear (grizzly, not teddy) in shape, made entirely of old sweaters. The bear, while it is one of the few elements in the show that is not wearable, is a nice corollary to the rest of the exhibit because it highlights both Cave’s love for textiles and his gift for construction. It also sets up the themes that run through the rest of the exhibit about the life taken on by the things we wear, and things we wear without showing it.\u003c/p>\n\u003cp>The show’s curator bills Cave’s soundsuits as “multi-layered, mixed media, wearable sculptures.” Many of the suits are made up of found objects, some are adorned with tchotchkes of the variety you would find on the tables and bookshelves of your grandmother’s house, others with yarn-and-popsicle-stick creations you’d see on a kindergarten crafts table. The variety of materials Cave uses to make the suits speaks to the diversity of human experience: he positions each figure as a net in which pieces of a personal history, the artifacts that shape our lives, are caught. From the material of their construction each suit takes on a different personality — \u003cb>Abacus Face\u003c/b>, \u003cb>Great Aunt Doily\u003c/b>, \u003cb>Pope Dolly Parton Jacket\u003c/b>.\u003c/p>\n\u003cp>But it’s not what they’re made of that originally intrigued Cave, but what they make themselves, specifically the sounds created when the suits are worn. Cave says the first soundsuit started as a sculpture made of twigs he drilled holes in and strung together in the shape of a person, but he became fascinated by the sounds made when he tried the sculpture on. That first suit gave rise to dozens of others, and the show at Yerba Buena is the largest assemblage of them to date (some, like the original twig soundsuit, are in private collections). The Yerba Buena Center commissioned choreographer Ronald K. Brown to create a dance that allows an audience to see and hear the suits in action. (Cave, who trained with Alvin Ailey before earning a graduate degree in fashion, has performed in the soundsuits before.)\u003c/p>\n\u003cp>The performance that Brown choreographed complements the variety found within the suits themselves, incorporating elements of African, ballet, hip-hop and modern dance. There is no stage for the performance, instead dancers begin their performance at the top of the stairs in the foyer of the Yerba Buena Center, and move through the building in a few rounds, hitting all of the gallery spaces, and stopping at intervals to dance-off with, and sometimes up on, the attendees. There is no music for most of the performance so the audience can listen to the sounds the suits make, but to be honest, I felt that aspect was the least interesting part of the show. They do make noise, mostly in muted tones like swishing hair and the rustling raffia, but the beauty of the suits in motion and the marvel of their construction dwarf the sensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A word of advice: if you make it to one of the performances: let the dancers come to you rather than battle the crowd that inevitably follows them on their parade through the Art Center. It is easier to stake out a spot in the building’s foyer or the smaller gallery to see one of the longer choreographed pieces. If you can’t make it to one of the performances, it is definitely still worth a trip to the Yerba Buena Center to see the soundsuits, and stand in awe of Cave’s craftsmanship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Ronald K. Brown performance is free with admission to exhibit at the Yerba Buena Center for the Arts Saturday May 30 and Sunday May 31, 2009 at 3pm. \u003cb>Meet Me at the Center of the Earth\u003c/b> will be on display until July 5, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The May 2009 episode of the Noise Pop New Music Podcast gets back toits original mission of bringing you the latest from independent andunderground artists. We hear from buzz worthy bands Animal Collective,Asobi Sesku and Handsome Furs, as well as Bay Area locals Hunx & HisPunx and Grand Lake.\u003c/p>\n\u003cp>\u003cb>Track Listing:\u003c/b>\u003cbr>“My Girls” by Animal Collective, \u003cb>Marriweather Post Pavilion\u003c/b>\u003cbr>“Keep on Knockin'” by Death, \u003cb>For the whole world to see\u003c/b>\u003cbr>“Why Do You Lie To Me (Lilac)” by Grand Lake\u003cbr>“Lakeside” by BlkJks, \u003cb>Mystery\u003c/b>\u003cbr>“Don’t Cha Want Me Back” by Hunx and his Punx\u003cbr>“I’m Confused” by Handsome Furs, \u003cb>Face Control\u003c/b>\u003cbr>“Now We Can See” by Thermals, \u003cb>Now We Can See\u003c/b>\u003cbr>“Me And Mary” by Asobi Sesku, \u003cb>Hush\u003c/b>\u003cbr>“I Have Laid In The Darkness Of Doubt” by Mazes, \u003cb>Mazes\u003c/b>\u003cbr>“People Got A Lotta Nerve” by Neko Case, \u003cb>Middle Cyclone\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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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": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"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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"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.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"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": {
"site": "news",
"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",
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"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": {
"site": "news",
"source": "kqed",
"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": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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"
},
"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": {
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"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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}
},
"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",
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