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"content": "\u003cp>Every now and then, a piece of music will become indelibly linked to a specific time or place in our lives. The song that was playing when you first met. The album that got you through your breakup. The track that always seems to be playing on the jukebox of your favorite bar. The soundtrack to one long, golden summer. The tape your parents played in the car when you were a kid. “Songs are like tattoos,” sings Joni Mitchell on “Blue,” a lyric that’s permanently inked somewhere on my soul. And it has plenty of company.\u003c/p>\n\u003cp>A few years ago, I went through a rough patch in my life that I only truly recognized when I started to get out of it. There was no sudden trauma, no terrible illness or accident, no single event that marked the beginning or even the end. Just a low period of my life I’m happy is in the past now. But somewhere in the middle of it, I came to rely on one album in particular to help keep me going: \u003cb>I Am a Bird Now\u003c/b> by \u003ca href=\"http://www.antonyandthejohnsons.com/\" target=\"offsite\" rel=\"noopener\">Antony and the Johnsons\u003c/a>.\u003c/p>\n\u003cp>It’s hard to describe Antony Hegarty’s singing voice to people who have never heard him. Try to imagine a choirboy singing with the soulful depth of Nina Simone. It is strange and unique, like the sound of salted caramel ice cream. I loved it from the first moment I heard it, and it became a comforting companion to me. No matter how low I felt, hearing him sing, “I hope there’s someone to take care of me,” at the start of that album made me feel as if, even here, at the bottom of the well, I wasn’t alone. And music is like that. An album might sell millions of copies, but it can still feel like it’s speaking only to you. It was as if Antony himself was helping me get through my dip, even though I now know the same album has helped countless other people too.\u003c/p>\n\u003cp>After my life turned a corner for the better, I began to find the album painful to listen to. It had become an integral part of that difficult time, entwined with every emotion I was feeling back then. It was essentially ruined for me, and I began to fear that I had lost not just that one record but Hegarty’s voice too. Would I ever be able to hear it the same way again? So it was with some trepidation that I greeted word of a new Antony and the Johnsons album and tour.\u003c/p>\n\u003cp>Thankfully, \u003cb>The Crying Light\u003c/b> is a delight. “No one can stop you now,” he sings at the start of this album’s opening song, “Her Eyes Are Underneath the Ground,” and for me it is the sound of a page turning, a new chapter beginning. The sorrow and heartbreak are still there, but now, once again, I can hear the positives in his music too. The delicate beauty and grace of “Another World” and “Dust and Water.” The soaring, surreal musical flights of fancy on “Epilepsy is Dancing” and “Everglade.” The self-assuredness of “Kiss My Name” and “Aeon.” Indeed, there seems to be a confidence here that has replaced some of the darker doubts and fears of older tracks such as “Hope There’s Someone.” But that may also just be me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, if this new album has begun to renew my relationship with Antony and the Johnsons, then seeing them play San Francisco this month should help even more. Live, the emotional power of Hegarty’s bittersweet voice only increases. But he is also a playful presence on stage, never letting the drama of the music weigh too heavily, injecting a little levity into proceedings now and then lest we forget ourselves and let the sadness drag us under.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Antony and the Johsons play \u003ca href=\"http://www.masonicauditorium.com/\" target=\"offsite\" rel=\"noopener\">Nob Hill Masonic Center\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> on Tuesday, February 24, 2009. Their new album \u003cb>The Crying Light\u003c/b> is out now on \u003ca href=\"http://www.secretlycanadian.com/\" target=\"offsite\" rel=\"noopener\">Secretly Canadian\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s featured band is San Francisco’s Leopold and his Fiction, a trio that turns pieces of garage rock, folk, psych and Americana into a remarkably cohesive and engaging mix called “vintage rock.” Detroit native Daniel James grew up around music and musicians, but it wasn’t until he left home that he really took stock of the music scene. The singer-guitarist eventually ended up at a writing program in San Francisco, where he met Kentucky transplant Ben Cook and the two bonded over a love of classic rock and vintage sounds. After some unsuccessful attempts to find a third member, they decided to make a go of it as a duo and released a self-titled album, which garnered critical praise and substantial college radio airplay.\u003c/p>\n\u003cp>Several years later, the band now celebrates the release of \u003cb>Ain’t No Surprise\u003c/b>, a second full-length album that strikes our ears as a sign 2009 will be another great year for Bay Area music. The group has accomplished no easy feat, turning its melting pot of influences into songs that, for all the talk of “vintage,” feel both innovative and exciting. After the record was completed, Cook left the group to pursue his career in 2008, meaning that along with the new release James is also introducing Leopold and his Fiction (Mach II), a trio that includes Micayla Grace (bass/vocals) and Jon Sortland (drums/vocals/organ). The new members bring new sounds and ideas to the mix and James is clearly excited about the band’s new direction. Judging from the terrific new album, we are too.\u003c/p>\n\u003cp>We sat down with Daniel James last week to speak about \u003cb>Ain’t No Surprise\u003c/b>, the songs he’s now creating with his new bandmates, and the influence of his upbringing on his musical interests. We’ve got four great songs from the new album included in this episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Tuesday, March 10th\u003cbr>Bottom of the Hill\u003cbr>with Spindrift and The Upside Down\u003cbr>9pm, $8, All Ages\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pianist Marco Benevento, who’s performing at Yoshi’s Oakland on Tuesday nights throughout February 2009, is a gentle and engaging artist with a light, virtuoso touch. His instrumental arrangements, be it of an original composition or a cover, exude a friendly, effortless vibe, even as layers of synth fuzz, squelches and squeaks punctuate the often simple melodies that he coaxes from his Steinway grand. But it would be a mistake to confuse Benevento’s guileless playing style and casual stage presence with complacency. Indeed, for the Yoshi’s run, Benevento appears to have gone out of his way to make things as challenging for himself as possible.\u003c/p>\n\u003cp>The series of shows began on Tuesday, February 3 with a party to mark the release of \u003cb>Me Not Me\u003c/b>, whose 10 tracks are dominated by songs written by everyone from Leonard Cohen to Jimmy Page. Joining Benevento were bassist Reed Mathis of Tea Leaf Green, drummer Andrew Barr of The Slip and a guy named Jay Cooper, who worked a Mac laptop off to the side of the stage to create a spacey light show of archival film loops and live video (though credited by Benevento as providing the evening’s “visual art,” I could have sworn that Cooper also added digital beats to augment the analog ones tapped out by Barr).\u003c/p>\n\u003cp>A sweet, almost easy-listening rendition of My Morning Jacket’s “Golden,” the first song on the new CD, kicked things off. For the most part, the live version of this tune was light on synthesized augmentation, so the piano’s slow procession of ringing chords was largely front and center. The same tune on the CD has roughly the opposite hierarchy, and as the evening progressed, Benevento spent less and less time with his hands on the keys to devote more attention to the knobs and dials resting on the piano’s lid.\u003c/p>\n\u003cp>As on the CD, “Golden” was followed by an original piece called “Now They Are Writing Music.” Throughout the course of the 80-minute-or-so show, Benevento and company played one more track from \u003cb>Me Not Me\u003c/b> that I could recognize (George Harrison’s “Run of the Mill”), several others from his early 2008 release, \u003cb>Invisible Baby\u003c/b> and a handful of other tunes. As I sat there listening to Benevento’s fluid playing, with its alternating fever bursts of discordant energy balanced by nursery-rhyme themes, I could hear nods to Page McConnell of Phish, salutes to both the Chick Corea and Gary Burton parts of “Senor Mouse” and, in “The Real Morning Party,” a sincere embrace of the 8-bit soundtracks that accompanied early Nintendo video games. Benevento calls his music post-jazz, but a more accurate description might be post-genre. I like this guy even if I don’t always know why, and I plan to see him again before the month ends.\u003c/p>\n\u003cp>In part, I want to see how he rises to his self-imposed challenge. Instead of honing and refining all month long with Mathis and Barr, which would have been a perfectly reasonable plan, Benevento will perform each Tuesday with an entirely different lineup. Not just with different rhythm sections, but with occasionally odd instrument combinations that promise unexpected sonic combinations. On Tuesday the 10th, the lineup features drummers Billy Martin (Medeski, Martin & Wood) and G. Calvin Weston, who will share the stage with Benevento and renowned saxman Skerik (Critters Buggin, Garage a Trois). On Tuesday the 17th, Benevento welcomes guitarist Jeff Parker of Tortoise and Devin Hoff and Scott Amendola, the bassist and drummer respectively of the Nels Cline Singers. Finally, on the 24th, Benevento and his partner in The Duo, drummer Joe Russo, will pair up with saxophonist Peter Apfelbaum and trombonist Josh Roseman. For that show they will be known as “Quartet the Killer,” a riff on the title of a Neil Young song called “Cortez the Killer.” Naturally, on that Tuesday, the ensemble will be playing Young’s music all night long.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://yoshis.inticketing.com\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pianist Marco Benevento, who’s performing at Yoshi’s Oakland on Tuesday nights throughout February 2009, is a gentle and engaging artist with a light, virtuoso touch. His instrumental arrangements, be it of an original composition or a cover, exude a friendly, effortless vibe, even as layers of synth fuzz, squelches and squeaks punctuate the often simple melodies that he coaxes from his Steinway grand. But it would be a mistake to confuse Benevento’s guileless playing style and casual stage presence with complacency. Indeed, for the Yoshi’s run, Benevento appears to have gone out of his way to make things as challenging for himself as possible.\u003c/p>\n\u003cp>The series of shows began on Tuesday, February 3 with a party to mark the release of \u003cb>Me Not Me\u003c/b>, whose 10 tracks are dominated by songs written by everyone from Leonard Cohen to Jimmy Page. Joining Benevento were bassist Reed Mathis of Tea Leaf Green, drummer Andrew Barr of The Slip and a guy named Jay Cooper, who worked a Mac laptop off to the side of the stage to create a spacey light show of archival film loops and live video (though credited by Benevento as providing the evening’s “visual art,” I could have sworn that Cooper also added digital beats to augment the analog ones tapped out by Barr).\u003c/p>\n\u003cp>A sweet, almost easy-listening rendition of My Morning Jacket’s “Golden,” the first song on the new CD, kicked things off. For the most part, the live version of this tune was light on synthesized augmentation, so the piano’s slow procession of ringing chords was largely front and center. The same tune on the CD has roughly the opposite hierarchy, and as the evening progressed, Benevento spent less and less time with his hands on the keys to devote more attention to the knobs and dials resting on the piano’s lid.\u003c/p>\n\u003cp>As on the CD, “Golden” was followed by an original piece called “Now They Are Writing Music.” Throughout the course of the 80-minute-or-so show, Benevento and company played one more track from \u003cb>Me Not Me\u003c/b> that I could recognize (George Harrison’s “Run of the Mill”), several others from his early 2008 release, \u003cb>Invisible Baby\u003c/b> and a handful of other tunes. As I sat there listening to Benevento’s fluid playing, with its alternating fever bursts of discordant energy balanced by nursery-rhyme themes, I could hear nods to Page McConnell of Phish, salutes to both the Chick Corea and Gary Burton parts of “Senor Mouse” and, in “The Real Morning Party,” a sincere embrace of the 8-bit soundtracks that accompanied early Nintendo video games. Benevento calls his music post-jazz, but a more accurate description might be post-genre. I like this guy even if I don’t always know why, and I plan to see him again before the month ends.\u003c/p>\n\u003cp>In part, I want to see how he rises to his self-imposed challenge. Instead of honing and refining all month long with Mathis and Barr, which would have been a perfectly reasonable plan, Benevento will perform each Tuesday with an entirely different lineup. Not just with different rhythm sections, but with occasionally odd instrument combinations that promise unexpected sonic combinations. On Tuesday the 10th, the lineup features drummers Billy Martin (Medeski, Martin & Wood) and G. Calvin Weston, who will share the stage with Benevento and renowned saxman Skerik (Critters Buggin, Garage a Trois). On Tuesday the 17th, Benevento welcomes guitarist Jeff Parker of Tortoise and Devin Hoff and Scott Amendola, the bassist and drummer respectively of the Nels Cline Singers. Finally, on the 24th, Benevento and his partner in The Duo, drummer Joe Russo, will pair up with saxophonist Peter Apfelbaum and trombonist Josh Roseman. For that show they will be known as “Quartet the Killer,” a riff on the title of a Neil Young song called “Cortez the Killer.” Naturally, on that Tuesday, the ensemble will be playing Young’s music all night long.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Loch Lomond: Trumpets for Paper Children",
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"content": "\u003cp>Prejudice is never an attractive trait, but sometimes it’s completely unavoidable. Forgivable, even. One such instance might be when an act describes itself as a “chamber folk ensemble,” an unfortunate choice of words that screams “band geek” almost as loudly as naming your Portland, Oregon band after Scotland’s largest lake says “geography dork.”\u003c/p>\n\u003cp>But you shouldn’t allow these minor (albeit troubling) details to stop you from giving \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> a chance to redeem themselves. After all, you have very little to lose: the band’s new EP \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records, and it would be unwise for any of us to let our assumptions get in the way of a free lunch in these grim economic times. And taking this small leap of faith will bring rich rewards. Sure, the music skirts the fringes of pretension in places, momentarily reinforcing some of the preconceptions and fears you might have started out with, but there is more than enough invention and imagination packed into these five tracks to compensate.\u003c/p>\n\u003cp>That “chamber folk” tag is most likely an attempt by the band to distance themselves from the far more dreary “alt folk” albatross they may have been lumbered with otherwise. And to be fair to the band, their songs do feel almost orchestral at times. Lush strings sweep in around moments of quieter acoustic introspection, perhaps most notably on “Field Report,” which quickly builds from its understated, stripped-down introduction into a lush landscape of sound. But to characterize their music is merely “folk plus classical” is to ignore other, equally compelling parts of a much more complex equation. These include the idiosyncratic vocal flourishes of lead singer Ritchie Young, the band’s gloriously ramshackle rhythm section, and even the surpising inclusion of a singing saw on at least two songs on this EP.\u003c/p>\n\u003cp>Perhaps “circus folk” would be a more appropriate description. The songs certainly tumble and swoop, while Young’s voice acts as ring leader for the multitalented cast of performers he has gathered around him (their numbers vary, but the band is currently performing as a seven-piece). Together they conjur up a joyful sense of youthful innocence and wide-eyed magic, one that suggests endless possibilities, unconstrained by such earthly concerns as dull conformity or cynical calculation.\u003c/p>\n\u003cp>The lyrics reflect this too, with colorful imagery occasionally evolving into strange stories and streaks of playful surrealism. “I never learned to spin plates on sticks,” Young intones at the start of “Bird and a Bear,” before proceeding to demonstrate his masterful ability to juggle words and phrases instead. Unexpected, certainly. But it’s amazing what surprises can lie in wait when we put aside our prejudices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loch Lomond’s \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records. They play San Francisco’s \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">Rickshaw Stop\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\">Noise Pop\u003c/a> on February 28, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prejudice is never an attractive trait, but sometimes it’s completely unavoidable. Forgivable, even. One such instance might be when an act describes itself as a “chamber folk ensemble,” an unfortunate choice of words that screams “band geek” almost as loudly as naming your Portland, Oregon band after Scotland’s largest lake says “geography dork.”\u003c/p>\n\u003cp>But you shouldn’t allow these minor (albeit troubling) details to stop you from giving \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> a chance to redeem themselves. After all, you have very little to lose: the band’s new EP \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records, and it would be unwise for any of us to let our assumptions get in the way of a free lunch in these grim economic times. And taking this small leap of faith will bring rich rewards. Sure, the music skirts the fringes of pretension in places, momentarily reinforcing some of the preconceptions and fears you might have started out with, but there is more than enough invention and imagination packed into these five tracks to compensate.\u003c/p>\n\u003cp>That “chamber folk” tag is most likely an attempt by the band to distance themselves from the far more dreary “alt folk” albatross they may have been lumbered with otherwise. And to be fair to the band, their songs do feel almost orchestral at times. Lush strings sweep in around moments of quieter acoustic introspection, perhaps most notably on “Field Report,” which quickly builds from its understated, stripped-down introduction into a lush landscape of sound. But to characterize their music is merely “folk plus classical” is to ignore other, equally compelling parts of a much more complex equation. These include the idiosyncratic vocal flourishes of lead singer Ritchie Young, the band’s gloriously ramshackle rhythm section, and even the surpising inclusion of a singing saw on at least two songs on this EP.\u003c/p>\n\u003cp>Perhaps “circus folk” would be a more appropriate description. The songs certainly tumble and swoop, while Young’s voice acts as ring leader for the multitalented cast of performers he has gathered around him (their numbers vary, but the band is currently performing as a seven-piece). Together they conjur up a joyful sense of youthful innocence and wide-eyed magic, one that suggests endless possibilities, unconstrained by such earthly concerns as dull conformity or cynical calculation.\u003c/p>\n\u003cp>The lyrics reflect this too, with colorful imagery occasionally evolving into strange stories and streaks of playful surrealism. “I never learned to spin plates on sticks,” Young intones at the start of “Bird and a Bear,” before proceeding to demonstrate his masterful ability to juggle words and phrases instead. Unexpected, certainly. But it’s amazing what surprises can lie in wait when we put aside our prejudices.\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>Loch Lomond’s \u003cb>Trumpets for Paper Children\u003c/b> is available as a \u003ca href=\"http://hushrecords.dreamhosters.com/zencart/index.php?main_page=product_info&products_id=137\">free download\u003c/a> from Hush Records. They play San Francisco’s \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">Rickshaw Stop\u003c/a> as part of \u003ca href=\"http://www.noisepop.com/the-2009-festival\">Noise Pop\u003c/a> on February 28, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may just be an admittedly childish love of flashing lights and knob-filled spaceship-looking consoles, but to me there’s something truly wonderful about a nice recording studio. Even as the digital revolution has liberated musicians from the studio, to record \u003ci>anywhere\u003c/i>, the potential inherent in a great studio environment remains exciting. Many artists have, to be sure, found ways to make great records without great studios, but to walk through \u003ca href=\"http://www.tinytelephone.com\">Tiny Telephone\u003c/a> — modified amps aligning a wall, a set of drawers full of strange and exotic microphones — one gets the sense that it is the sort of place where a great musician can, through skillful recording and production, transform great performances into something bigger, to make otherwise fragile ideas permanent and, in the best cases, transcendent.\u003c/p>\n\u003cp>There are certainly bigger and more luxurious studios within the Bay Area, but for the independent rock community Tiny Telephone is no doubt the most prestigious. Well-hidden within an Outer Mission industrial artist community that feels more Salton Sea than San Francisco, the studio was founded by local musician \u003ca href=\"http://www.johnvanderslice.com\">John Vanderslice\u003c/a> as a place to celebrate his love of recording in an artist-friendly environment. To those ends, the studio has a wealth of great gear, including a much-envied analog mixing board originally used by the BBC, and affordable day rates that make it equally accessible to up-and-coming local bands and big names alike. Spoon, The Mountain Goats, Death Cab for Cutie, and Deerhoof have all recorded there and one senses that the studio is now busier than ever.\u003c/p>\n\u003cp>In addition to his role as Tiny Telephone’s captain, John Vanderslice has had an accomplished music career, as a member of the band MK Ultra and a solo artist. Vanderslice’s solo career spans six albums of uniformly high quality, the latest of which is 2007?s \u003cb>Emerald City\u003c/b> on \u003ca href=\"http://www.barsuk.com\">Barsuk Records\u003c/a>. It’s unsurprising, given his love for recording, that Vanderslice’s all-analog rock-pop is as sonically engaging as it is well-written. In the past, he’s called his aesthetic “sloppy hi-fi,” a self-effacing name that captures his willingness to experiment with sound shapes, creating compositions that are deceptively rich without feeling overly crammed with ideas.\u003c/p>\n\u003cp>This weekend, Vanderslice performs at the Great American Music Hall, with a show titled \u003cb>Celebrating 10 Years of Tiny Telephone\u003c/b>. Vanderslice will be accompanied by Tiny Telephone’s house orchestra, the Magik*Magik Orchestra, for unique arrangements of songs from throughout his career, including some from an upcoming album expected later this year. It’s a special performance appropriate for this special night celebrating one of SF indie rock’s most treasured institutions. Rapper/producer Aesop Rock, who has released several excellent albums on Def Jux, will be DJing before and after JV’s set.\u003c/p>\n\u003cp>John Vanderslice with the Magik*Magik Orchestra\u003cbr>special guest DJ Aesop Rock\u003cbr>Friday, January 30, 2009\u003cbr>Doors at 8pm. Show at 9pm.\u003cbr>$14, All Ages.\u003cbr>Tickets available at \u003ca href=\"http://www.gamhtickets.com/evinfo.php?eventid=30199&sid=\">GAMHTickets.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Content Editor for \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>It may just be an admittedly childish love of flashing lights and knob-filled spaceship-looking consoles, but to me there’s something truly wonderful about a nice recording studio. Even as the digital revolution has liberated musicians from the studio, to record \u003ci>anywhere\u003c/i>, the potential inherent in a great studio environment remains exciting. Many artists have, to be sure, found ways to make great records without great studios, but to walk through \u003ca href=\"http://www.tinytelephone.com\">Tiny Telephone\u003c/a> — modified amps aligning a wall, a set of drawers full of strange and exotic microphones — one gets the sense that it is the sort of place where a great musician can, through skillful recording and production, transform great performances into something bigger, to make otherwise fragile ideas permanent and, in the best cases, transcendent.\u003c/p>\n\u003cp>There are certainly bigger and more luxurious studios within the Bay Area, but for the independent rock community Tiny Telephone is no doubt the most prestigious. Well-hidden within an Outer Mission industrial artist community that feels more Salton Sea than San Francisco, the studio was founded by local musician \u003ca href=\"http://www.johnvanderslice.com\">John Vanderslice\u003c/a> as a place to celebrate his love of recording in an artist-friendly environment. To those ends, the studio has a wealth of great gear, including a much-envied analog mixing board originally used by the BBC, and affordable day rates that make it equally accessible to up-and-coming local bands and big names alike. Spoon, The Mountain Goats, Death Cab for Cutie, and Deerhoof have all recorded there and one senses that the studio is now busier than ever.\u003c/p>\n\u003cp>In addition to his role as Tiny Telephone’s captain, John Vanderslice has had an accomplished music career, as a member of the band MK Ultra and a solo artist. Vanderslice’s solo career spans six albums of uniformly high quality, the latest of which is 2007?s \u003cb>Emerald City\u003c/b> on \u003ca href=\"http://www.barsuk.com\">Barsuk Records\u003c/a>. It’s unsurprising, given his love for recording, that Vanderslice’s all-analog rock-pop is as sonically engaging as it is well-written. In the past, he’s called his aesthetic “sloppy hi-fi,” a self-effacing name that captures his willingness to experiment with sound shapes, creating compositions that are deceptively rich without feeling overly crammed with ideas.\u003c/p>\n\u003cp>This weekend, Vanderslice performs at the Great American Music Hall, with a show titled \u003cb>Celebrating 10 Years of Tiny Telephone\u003c/b>. Vanderslice will be accompanied by Tiny Telephone’s house orchestra, the Magik*Magik Orchestra, for unique arrangements of songs from throughout his career, including some from an upcoming album expected later this year. It’s a special performance appropriate for this special night celebrating one of SF indie rock’s most treasured institutions. Rapper/producer Aesop Rock, who has released several excellent albums on Def Jux, will be DJing before and after JV’s set.\u003c/p>\n\u003cp>John Vanderslice with the Magik*Magik Orchestra\u003cbr>special guest DJ Aesop Rock\u003cbr>Friday, January 30, 2009\u003cbr>Doors at 8pm. Show at 9pm.\u003cbr>$14, All Ages.\u003cbr>Tickets available at \u003ca href=\"http://www.gamhtickets.com/evinfo.php?eventid=30199&sid=\">GAMHTickets.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>January is rarely an exciting musical month new-release-wise, which is a shame; the New Year should be all about fresh, new things, after all. But this year I’ve found musical refreshment from a less obvious source: the latest edition of Tom Moon’s \u003ca href=\"http://www.1000recordings.com/tom-moon/\">\u003cb>1,000 Recordings to Hear Before You Die\u003c/b>\u003c/a>. The title is fairly self-explanatory, and there are plenty other best-ever-record-list books out there, but this really is a superior example of the genre.\u003c/p>\n\u003cp>First of all, it is impressively eclectic, taking in genres such as classical, folk, and blues next to the standard rock/pop mix. And it’s organized alphabetically by artist, which means lots of fun collisions such as Public Enemy being held back by millions from Puccini’s La Bohème, and the Sex Pistols neglecting to mind their bollocks next to Shakira. Sure there is plenty in here that’s predictable, not least the fact that it starts with Abba and ends with ZZ Top. But 1,000 is a big number and there is plenty of space left among the more pedestrian choices (Bach, Beach Boys, Beatles, Beethoven, Bowie) for lots of surprises (The Bulgarian Women’s National Radio and Television Chorus, anyone?).\u003c/p>\n\u003cp>Danger Mouse’s \u003cb>Grey Album\u003c/b> is in there, as well as the Jay-Z/Beatles discs that inspired it. The inclusion of Johnny Mathis, Neil Diamond, and the orginal cast recording of \u003cb>Jesus Christ Superstar\u003c/b> are all evidence of a refreshing lack of snobbery. The comprehensive index lists more than 150 titles in its lengthy “world music” section. And no apology is made (or needed) for the inclusion of various compilations, movie soundtrack albums, or singles of note.\u003c/p>\n\u003cp>And then there’s the fact that the entries are wonderfully written. Despite the daunting scale of his undertaking, Moon’s capable prose makes each and every recording come alive on the page. He describes \u003cb>Kind of Blue\u003c/b> as the sound of musicians, “listening closely, playing less, and saying more;” talks about “the endless accolades that have attached, like barnacles,” to \u003cb>Sgt. Pepper’s\u003c/b>; and points out, quite reasonably, that “Björk is an island.” Indeed, the best thing you can say about Moon’s writing is that you will rarely be able to read it for long: after just a few paragraphs you are itching to put the book down to listen to whatever you’ve just had described to you.\u003c/p>\n\u003cp>Which isn’t to say \u003cb>1,000 Recordings\u003c/b> is perfect; no list like it will ever be. Everyone will find some omissions or inclusions to take issue with (which is, paradoxically, part of the fun). But in these economically troubled times, buying this book may end up achieving something far more useful: saving you money. Moon’s recommendations will encourage you to revisit and rediscover the charms of neglected classics hiding in your record collection. And, even if you find yourself heading to your local record store to buy albums you may have missed or lost over the years, you are likely to be able to find them available at budget back-catalog or used prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>January is rarely an exciting musical month new-release-wise, which is a shame; the New Year should be all about fresh, new things, after all. But this year I’ve found musical refreshment from a less obvious source: the latest edition of Tom Moon’s \u003ca href=\"http://www.1000recordings.com/tom-moon/\">\u003cb>1,000 Recordings to Hear Before You Die\u003c/b>\u003c/a>. The title is fairly self-explanatory, and there are plenty other best-ever-record-list books out there, but this really is a superior example of the genre.\u003c/p>\n\u003cp>First of all, it is impressively eclectic, taking in genres such as classical, folk, and blues next to the standard rock/pop mix. And it’s organized alphabetically by artist, which means lots of fun collisions such as Public Enemy being held back by millions from Puccini’s La Bohème, and the Sex Pistols neglecting to mind their bollocks next to Shakira. Sure there is plenty in here that’s predictable, not least the fact that it starts with Abba and ends with ZZ Top. But 1,000 is a big number and there is plenty of space left among the more pedestrian choices (Bach, Beach Boys, Beatles, Beethoven, Bowie) for lots of surprises (The Bulgarian Women’s National Radio and Television Chorus, anyone?).\u003c/p>\n\u003cp>Danger Mouse’s \u003cb>Grey Album\u003c/b> is in there, as well as the Jay-Z/Beatles discs that inspired it. The inclusion of Johnny Mathis, Neil Diamond, and the orginal cast recording of \u003cb>Jesus Christ Superstar\u003c/b> are all evidence of a refreshing lack of snobbery. The comprehensive index lists more than 150 titles in its lengthy “world music” section. And no apology is made (or needed) for the inclusion of various compilations, movie soundtrack albums, or singles of note.\u003c/p>\n\u003cp>And then there’s the fact that the entries are wonderfully written. Despite the daunting scale of his undertaking, Moon’s capable prose makes each and every recording come alive on the page. He describes \u003cb>Kind of Blue\u003c/b> as the sound of musicians, “listening closely, playing less, and saying more;” talks about “the endless accolades that have attached, like barnacles,” to \u003cb>Sgt. Pepper’s\u003c/b>; and points out, quite reasonably, that “Björk is an island.” Indeed, the best thing you can say about Moon’s writing is that you will rarely be able to read it for long: after just a few paragraphs you are itching to put the book down to listen to whatever you’ve just had described to you.\u003c/p>\n\u003cp>Which isn’t to say \u003cb>1,000 Recordings\u003c/b> is perfect; no list like it will ever be. Everyone will find some omissions or inclusions to take issue with (which is, paradoxically, part of the fun). But in these economically troubled times, buying this book may end up achieving something far more useful: saving you money. Moon’s recommendations will encourage you to revisit and rediscover the charms of neglected classics hiding in your record collection. And, even if you find yourself heading to your local record store to buy albums you may have missed or lost over the years, you are likely to be able to find them available at budget back-catalog or used prices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The January 2009 \u003cb>Noise Pop New Music Podcast\u003c/b> opens up the year with 10 tracks of independent and underground music. Starting out with Megapuss (featuring Noise Pop alum Devandra Banhart), we then cross the country to New York with tracks from Gregory & The Hawk and Deer Tick. Then, off to Sweden, where we hear a new tune from Love Is All, and back to the Bay Area with tracks from Oranger and Her Space Holiday.\u003c/p>\n\u003cp>\u003cb>Track Listing:\u003c/b>\u003cbr>\n“Adam And Steve” by Megapuss, \u003cb>Surfing\u003c/b>\u003cbr>\n“Sleepy Tigers” by Her Space Holiday, \u003cb>XOXO Panda And The New Kid Revival\u003c/b>\u003cbr>\n“Wishing Well” by Love Is All, \u003cb>A Hundred Things Keep Me Up At Night\u003c/b>\u003cbr>\n“Nothing Ever Happened” by Deerhunter, \u003cb>Microcastle\u003c/b>\u003cbr>\n“Offend Maggie” by Deerhoof, \u003cb>Offend Maggie\u003c/b>\u003cbr>\n“Art Isnt Real (City Of Sin)” by Deer Tick, \u003cb>War Elephant\u003c/b>\u003cbr>\n“Track 5” by sBACH, \u003cb>sBACH\u003c/b>\u003cbr>\n“Sukiyaki” by Oranger\u003cbr>\n“Grey Weather” by Gregory And The Hawk, \u003cb>Moenie And Kitchi\u003c/b>\u003cbr>\n“House Jam (XXXChange Remix)” by Gang Gang Dance, \u003cb>Saint Dymphna\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s no mistaking that \u003ca href=\"http://www.glasvegas.net\">Glasvegas\u003c/a>, who play San Francisco’s indie club Popscene tonight, hail from Glasgow, Scotland, and not the gambling oasis that gave them the other half of their name. Their music is much more northern gloom than Nevadan glam; this is the sound of rainy tenements, not neon-drenched desert. And then there’s the simple fact that vocalist James Allan sings with a strong Scottish accent, which is always a dead giveaway.\u003c/p>\n\u003cp>Or is it? The curious topic of enunciation in modern music is \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=19800\">one I’ve touched on before\u003c/a>, but it’s worth repeating the point. Worldwide, most singers who sing in English do so with an American accent, a fact that is as blandly ubiquitous as it is blithely ignored. People from outside these borders seem reluctant to sing with voices that are their own, despite the fact that it would help them attain two of the Holy Virtues of Rock: authenticity and individuality.\u003c/p>\n\u003cp>In the brief but checkered history of tartan-tinged accents in rock, fellow Scots \u003ca href=\"http://www.myspace.com/thejesusampmarychain\">The Jesus and Mary Chain\u003c/a> represent an undoubted, if understated, highpoint (they are also an obvious inspiration for Glasvegas). Admittedly, the singing voices of Jim and William Reid more clearly reflect the pair’s almost exclusively American musical influences (Bo Diddley, Brian Wilson, Lou Reed, Iggy Pop), but an alluring hint of their native East Kilbride brogue also creeps in around the edges, highlighting the chilly northern honesty of the band’s more rainswept lyrical moments.\u003c/p>\n\u003cp>At the other end of the spectrum there are \u003ca href=\"http://www.proclaimers.co.uk\">The Proclaimers\u003c/a>, as miscast as they are unavoidable in this discussion. I have to admit to having a soft spot for the other Scottish Reid brothers, Charlie and Craig, even though they are often written off, even in their homeland, as some sort of novelty act. It doesn’t help that they are twins, or that they used to wear matching Buddy Holly glasses with lenses almost as thick as their accents. But the fact that they sing like they do isn’t an affectation. That is the way they sound when they open their mouths, and for them to pretend otherwise would be to betray their folk-rock roots.\u003c/p>\n\u003cp>Thankfully even the many kickings handed out to The Proclaimers by the accent police over the years haven’t entirely discouraged other Scots from being creative with their native tongue. Glasgow’s \u003ca href=\"http://www.chemikal.co.uk/\">Chemikal Underground\u003c/a> label leads the way, with acts such as \u003ca href=\"http://www.arabstrap.co.uk/\">Arab Strap\u003c/a>, \u003ca href=\"http://www.mogwai.co.uk/\">Mogwai\u003c/a>, and \u003ca href=\"http://www.chemikal.co.uk/delgados.htm\">The Delgados\u003c/a> all helping to reclaim the critical high ground. And, most recently \u003ca href=\"http://fat-cat.co.uk/fatcat/artistInfo.php?id=107\">The Twilight Sad\u003c/a> gave Ian Curtis’s mournful baritone a pleasing Scottish working class makeover, creating ripples of appreciation on both sides of the pond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glasvegas owe a similar-sized debt to the glacial bleakness of Joy Division, but they also add a warming note of Phil Spector-style pop to the mix. While there are many who believe the decaying corpse of the Sixties should be left well alone as a source of inspiration by British indie bands (yes Oasis, we’re talking to you: put the Beatles albums down and walk away), Glasvegas may just be smart and original enough to get away with committing this venal sin one more time. Their lyrics are direct but clever, while the epic tunes add grandeur to everyday stories of absent fathers and social workers. And then there’s that accent.\u003c/p>\n\u003cp>Of course, as a native Scot I’m probably biased on this last point. But the fact remains that singing with your own voice seems like a good idea wherever it comes from. Why pretend to be someone you’re not?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glasvegas play \u003ca href=\"http://www.popscene-sf.com/calendar/\">Popscene\u003c/a> at \u003ca href=\"http://www.330ritch.com/calendar/\">330 Ritch\u003c/a> on Thursday, January 8, 2009. There will be limited tickets available on the door at 8:30pm. Their self-titled debut album was released on January 6.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no mistaking that \u003ca href=\"http://www.glasvegas.net\">Glasvegas\u003c/a>, who play San Francisco’s indie club Popscene tonight, hail from Glasgow, Scotland, and not the gambling oasis that gave them the other half of their name. Their music is much more northern gloom than Nevadan glam; this is the sound of rainy tenements, not neon-drenched desert. And then there’s the simple fact that vocalist James Allan sings with a strong Scottish accent, which is always a dead giveaway.\u003c/p>\n\u003cp>Or is it? The curious topic of enunciation in modern music is \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=19800\">one I’ve touched on before\u003c/a>, but it’s worth repeating the point. Worldwide, most singers who sing in English do so with an American accent, a fact that is as blandly ubiquitous as it is blithely ignored. People from outside these borders seem reluctant to sing with voices that are their own, despite the fact that it would help them attain two of the Holy Virtues of Rock: authenticity and individuality.\u003c/p>\n\u003cp>In the brief but checkered history of tartan-tinged accents in rock, fellow Scots \u003ca href=\"http://www.myspace.com/thejesusampmarychain\">The Jesus and Mary Chain\u003c/a> represent an undoubted, if understated, highpoint (they are also an obvious inspiration for Glasvegas). Admittedly, the singing voices of Jim and William Reid more clearly reflect the pair’s almost exclusively American musical influences (Bo Diddley, Brian Wilson, Lou Reed, Iggy Pop), but an alluring hint of their native East Kilbride brogue also creeps in around the edges, highlighting the chilly northern honesty of the band’s more rainswept lyrical moments.\u003c/p>\n\u003cp>At the other end of the spectrum there are \u003ca href=\"http://www.proclaimers.co.uk\">The Proclaimers\u003c/a>, as miscast as they are unavoidable in this discussion. I have to admit to having a soft spot for the other Scottish Reid brothers, Charlie and Craig, even though they are often written off, even in their homeland, as some sort of novelty act. It doesn’t help that they are twins, or that they used to wear matching Buddy Holly glasses with lenses almost as thick as their accents. But the fact that they sing like they do isn’t an affectation. That is the way they sound when they open their mouths, and for them to pretend otherwise would be to betray their folk-rock roots.\u003c/p>\n\u003cp>Thankfully even the many kickings handed out to The Proclaimers by the accent police over the years haven’t entirely discouraged other Scots from being creative with their native tongue. Glasgow’s \u003ca href=\"http://www.chemikal.co.uk/\">Chemikal Underground\u003c/a> label leads the way, with acts such as \u003ca href=\"http://www.arabstrap.co.uk/\">Arab Strap\u003c/a>, \u003ca href=\"http://www.mogwai.co.uk/\">Mogwai\u003c/a>, and \u003ca href=\"http://www.chemikal.co.uk/delgados.htm\">The Delgados\u003c/a> all helping to reclaim the critical high ground. And, most recently \u003ca href=\"http://fat-cat.co.uk/fatcat/artistInfo.php?id=107\">The Twilight Sad\u003c/a> gave Ian Curtis’s mournful baritone a pleasing Scottish working class makeover, creating ripples of appreciation on both sides of the pond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Glasvegas owe a similar-sized debt to the glacial bleakness of Joy Division, but they also add a warming note of Phil Spector-style pop to the mix. While there are many who believe the decaying corpse of the Sixties should be left well alone as a source of inspiration by British indie bands (yes Oasis, we’re talking to you: put the Beatles albums down and walk away), Glasvegas may just be smart and original enough to get away with committing this venal sin one more time. Their lyrics are direct but clever, while the epic tunes add grandeur to everyday stories of absent fathers and social workers. And then there’s that accent.\u003c/p>\n\u003cp>Of course, as a native Scot I’m probably biased on this last point. But the fact remains that singing with your own voice seems like a good idea wherever it comes from. Why pretend to be someone you’re not?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glasvegas play \u003ca href=\"http://www.popscene-sf.com/calendar/\">Popscene\u003c/a> at \u003ca href=\"http://www.330ritch.com/calendar/\">330 Ritch\u003c/a> on Thursday, January 8, 2009. There will be limited tickets available on the door at 8:30pm. Their self-titled debut album was released on January 6.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In January of 2004, some entrepreneurial folks took a camera studio on Fell Street at Van Ness and transformed it into the \u003ca href=\"http://www.rickshawstop.com\">Rickshaw Stop\u003c/a>, a venue that, in its five years of existence, has become one of the premier spots in San Francisco. In a city this geographically small and this damn expensive, venue closures due to high rents, noise complaints, and sluggish business often feel more like the rule than the exception. These ever-present threats make it all the more impressive that the Rickshaw Stop not only survives, but continues to draw crowds to a consistently inspired array of local and out-of-town indie rock shows and DJ nights.\u003c/p>\n\u003cp>In early January, the club celebrates these achievements with a series of “Fifth Anniversary Bash” concerts featuring an eclectic mix of top notch bands. Los Angeles’s \u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> headline two of the three nights, with a cosmopolitan sound fusing elements of psychedelic rock and surf music with the 1960s Cambodian pop-rock influenced by those genres. Singer Chhom Nimol’s vocals, in both Khmer and English, guide the band through its eclectic wanderings, heard most recently on a well received third album, \u003cb>Venus On Earth\u003c/b>, released almost a year ago. The band’s unique story, as well as the story of the Cambodian pop scene’s vibrancy prior to the rise of the Khmer Rouge, have also been captured in the upcoming documentary \u003ca href=\"http://sleepwalkingthroughthemekong.com/\">\u003cb>Sleepwalking Through The Mekong\u003c/b>\u003c/a> and its accompanying soundtrack, which showcase Dengue Fever’s recent travels to perform in Cambodia.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.seanhayesmusic.com/\">Sean Hayes\u003c/a> headlines the third night of the festivities. With four self-released albums already under his belt, the North Carolina-raised singer-songwriter began gaining nationwide attention with 2007’s \u003cb>Flowering Spade\u003c/b>. For all of its sparsity, Hayes’s folk-rock conveys a variety of musical interests, as elements of experimental folk and Americana sit comfortably alongside more melodic leanings. Hayes’s voice takes center stage in most of his songs; his haunting tones can be quite moving.\u003c/p>\n\u003cp>The local bands supporting on different nights are similarly enticing. Singer-songwriter \u003ca href=\"http://gohnakamura.com/\">Goh Nakamura\u003c/a>‘s sophomore work, \u003cb>Ulysses\u003c/b>, was four years in the making. It’s a significant departure from the lower-fi approach of his first and a very engaging album in its own right. \u003cb>Ulysses\u003c/b> was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23381\">reviewed on KQED\u003c/a> and can be \u003ca href=\"http://www.gohnakamura.com/ulysses/purchase\">downloaded for free\u003c/a> from Nakamura’s web site. East Bay quartet \u003ca href=\"http://myspace.com/attachments\">The Attachments\u003c/a> capture the strong melodies and sense of fun of early Beatles/Beach Boys in their indie pop-rock. While the band’s debut EP featured only songs about girls, their MySpace page was recently updated with some new songs of more varied subject matter, discussing Obama’s victory and Southern California with their trademark skill and aplomb. It’s an exciting omen for the band’s forthcoming debut full length. Local songsmith \u003ca href=\"http://myspace.com/michaelmusika\">Michael Musika\u003c/a> performs on Wednesday night. His psychedelic folk songs feature contributions from a number of talented local musicians, and Musika will likely perform selections from some recent recording sessions at the show.\u003c/p>\n\u003cp>The Richshaw Stop’s 5th Anniversary Bash kicks off on Friday, January 2, 2009 with Dengue Fever, Goh Nakamura and “other fun stuff.” 9pm, $8. The party continues on Saturday, January 3rd with Dengue Fever, The Attachments. 9pm, $8.Festivities conclude on Wednesday, January 7, 2009 with Sean Hayes and Michael Musika. 8pm, $15. Tickets for all three shows are currently available at \u003ca href=\"http://rickshawstop.com\">RickshawStop.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Content Editor for \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>In January of 2004, some entrepreneurial folks took a camera studio on Fell Street at Van Ness and transformed it into the \u003ca href=\"http://www.rickshawstop.com\">Rickshaw Stop\u003c/a>, a venue that, in its five years of existence, has become one of the premier spots in San Francisco. In a city this geographically small and this damn expensive, venue closures due to high rents, noise complaints, and sluggish business often feel more like the rule than the exception. These ever-present threats make it all the more impressive that the Rickshaw Stop not only survives, but continues to draw crowds to a consistently inspired array of local and out-of-town indie rock shows and DJ nights.\u003c/p>\n\u003cp>In early January, the club celebrates these achievements with a series of “Fifth Anniversary Bash” concerts featuring an eclectic mix of top notch bands. Los Angeles’s \u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> headline two of the three nights, with a cosmopolitan sound fusing elements of psychedelic rock and surf music with the 1960s Cambodian pop-rock influenced by those genres. Singer Chhom Nimol’s vocals, in both Khmer and English, guide the band through its eclectic wanderings, heard most recently on a well received third album, \u003cb>Venus On Earth\u003c/b>, released almost a year ago. The band’s unique story, as well as the story of the Cambodian pop scene’s vibrancy prior to the rise of the Khmer Rouge, have also been captured in the upcoming documentary \u003ca href=\"http://sleepwalkingthroughthemekong.com/\">\u003cb>Sleepwalking Through The Mekong\u003c/b>\u003c/a> and its accompanying soundtrack, which showcase Dengue Fever’s recent travels to perform in Cambodia.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.seanhayesmusic.com/\">Sean Hayes\u003c/a> headlines the third night of the festivities. With four self-released albums already under his belt, the North Carolina-raised singer-songwriter began gaining nationwide attention with 2007’s \u003cb>Flowering Spade\u003c/b>. For all of its sparsity, Hayes’s folk-rock conveys a variety of musical interests, as elements of experimental folk and Americana sit comfortably alongside more melodic leanings. Hayes’s voice takes center stage in most of his songs; his haunting tones can be quite moving.\u003c/p>\n\u003cp>The local bands supporting on different nights are similarly enticing. Singer-songwriter \u003ca href=\"http://gohnakamura.com/\">Goh Nakamura\u003c/a>‘s sophomore work, \u003cb>Ulysses\u003c/b>, was four years in the making. It’s a significant departure from the lower-fi approach of his first and a very engaging album in its own right. \u003cb>Ulysses\u003c/b> was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23381\">reviewed on KQED\u003c/a> and can be \u003ca href=\"http://www.gohnakamura.com/ulysses/purchase\">downloaded for free\u003c/a> from Nakamura’s web site. East Bay quartet \u003ca href=\"http://myspace.com/attachments\">The Attachments\u003c/a> capture the strong melodies and sense of fun of early Beatles/Beach Boys in their indie pop-rock. While the band’s debut EP featured only songs about girls, their MySpace page was recently updated with some new songs of more varied subject matter, discussing Obama’s victory and Southern California with their trademark skill and aplomb. It’s an exciting omen for the band’s forthcoming debut full length. Local songsmith \u003ca href=\"http://myspace.com/michaelmusika\">Michael Musika\u003c/a> performs on Wednesday night. His psychedelic folk songs feature contributions from a number of talented local musicians, and Musika will likely perform selections from some recent recording sessions at the show.\u003c/p>\n\u003cp>The Richshaw Stop’s 5th Anniversary Bash kicks off on Friday, January 2, 2009 with Dengue Fever, Goh Nakamura and “other fun stuff.” 9pm, $8. The party continues on Saturday, January 3rd with Dengue Fever, The Attachments. 9pm, $8.Festivities conclude on Wednesday, January 7, 2009 with Sean Hayes and Michael Musika. 8pm, $15. Tickets for all three shows are currently available at \u003ca href=\"http://rickshawstop.com\">RickshawStop.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the good ship 2008 nears the end of its voyage, it’s time to look back at the year’s musical peaks and troughs. But rather than heap yet more praise (or derision) on the artists and releases I’ve already written about, the following unscientific, arbitary, misguided awards are intended to fill in any gaps I missed. Which means I won’t even mention that my favorite albums of the year were \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23670\">The Holy Pictures\u003c/a> by David Holmes, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22846\">There Were Wolves\u003c/a> by The Accidental, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22083\">The Golden Age\u003c/a> by American Music Club, and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22971\">For Emma, Forever Ago\u003c/a> by Bon Iver. Nope, my lips are sealed on that one.\u003c/p>\n\u003cp>So, without further ado, the winners are …\u003c/p>\n\u003cp>Best Album I Should Have Reviewed (But Didn’t): \u003cbr>Fleet Foxes: \u003cb>Fleet Foxes\u003c/b>\u003c/p>\n\u003cp>When I decided to write about modern “Americana” in July, I asked friends to recommend recent albums with at least a twinge of twang about them. Two names cropped up a lot: I quickly tracked down (and wrote about) the previously unmentioned Bon Iver, but for some reason I took my own good time finding a copy of the \u003ca href=\"http://www.subpop.com/artists/fleet_foxes\" target=\"OFFSITE\">Fleet Foxes\u003c/a> album. I regret that now. Not only is it every bit as good as Bon Iver’s, but the two of them sound great together. If Bon Iver captured the sound of midwinter in the Midwest, then the Fleet Foxes album is its summer sibling, still tinged with sadness, but fuller, lush, and fertile, like the feeling of sun on your skin.\u003c/p>\n\u003cp>George Bush Memorial Award for Most Misunderestimated Album: \u003cbr>Hayden: \u003cb>In Field & Town\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first time I heard this, I was totally underwhelmed. I think it was his voice, which is all lazy drawl and artful insouciance. But there was something else that wriggled into my brain, and the CD kept creeping back into my stereo despite my misgivings. Slowly, these quiet songs began to reveal their charms. In the end I had to admit that I had gotten it wrong. It is understated, sure, but it is also a delight, made with the kind of craft that only comes with practice (it’s \u003ca href=\"http://www.myspace.com/hayden\" target=\"OFFSITE\">Hayden\u003c/a>‘s sixth album). My bad.\u003c/p>\n\u003cp>Most Improved Live Act: \u003cbr>TV on the Radio\u003c/p>\n\u003cp>The clattering, loose-limbed eccentricities that have come to define the \u003ca href=\"http://www.tvontheradio.com/\" target=\"OFFSITE\">TV on the Radio\u003c/a> sound haven’t always worked so well live. In the past, some songs would soar, while others struggled under the weight of their own weirdness. However, with the release of the more polished \u003cb>Dear Science\u003c/b> this year, the band seem to have finally realized their full potential live. At the Warfield in November they nailed every song to the ceiling with exhilarating panache, and without sacrificing any of their brilliant idiosyncrasies.\u003c/p>\n\u003cp>Biggest Live Let Down: \u003cbr>My Bloody Valentine\u003c/p>\n\u003cp>I should have seen this one coming. Battling the twin handicaps of a terrible venue and my own unreasonably high expectations, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"OFFSITE\">MBV\u003c/a> were always going to disappoint in September. In the end, it wasn’t all bad, and some songs actually sounded pretty good. But it just wasn’t the same as seeing them when I was much younger and more impressionable. And too many songs were chewed into mush by the weird, cavernous SF Design Center. Did somebody forget to stop building that hall? It seemed to stretch on forever, as did the now predictably abusive finale of “You Made Me Realise” and its “apocalypse” section. Yeah, white noise, loud, whatever.\u003c/p>\n\u003cp>Best Song From Space (or South Africa): \u003cbr>DJ Mujava: “Township Funk”\u003c/p>\n\u003cp>Recorded by Pretoria’s \u003ca href=\"http://www.myspace.com/mujava\" target=\"OFFSITE\">DJ Mujava\u003c/a>, and released via the leftfield Warp imprint, “Township Funk” is a strange, upbeat slice of futuristic afro electronica with an outrageously catchy drumbeat. Listening to it left me full of excitement, as it reminded me that not all dance music is boring, that “world” music isn’t just about yogurt-knitted sweaters and whole-grain acoustics, and that there’s lots more weird and wonderful stuff like this to be found in unexpected places online.\u003c/p>\n\u003cp>Best Song Title: \u003cbr>Mogwai: “I’m Jim Morrison, I’m Dead” \u003c/p>\n\u003cp>The best thing about writing albums full of instrumental post-rock noise is that you can name your songs pretty much anything you want. This year, \u003ca href=\"http://www.mogwai.co.uk/\" target=\"OFFSITE\">Mogwai\u003c/a> have made the most of this freedom. As well as the prize-winning gem above, they’ve also given us “The Sun Smells Too Loud,” “I Love You, I’m Going to Blow Up Your School,” “Thank You Space Expert,” and the bafflingly brilliant “Batcat,” all from their excellent new album \u003cb>The Hawk is Howling\u003c/b>.\u003c/p>\n\u003cp>Special Excuse to Link to a Video Award:\u003cbr>“Prisencolinensinainciusol” by Adriano Celentano\u003c/p>\n\u003cp>OK, this was actually released in 1973, but it’s so good that I’m including it anyway. Enjoy, and here’s to a very happy New Year!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=FcUi6UEQh00&hl=en&fs=1]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the good ship 2008 nears the end of its voyage, it’s time to look back at the year’s musical peaks and troughs. But rather than heap yet more praise (or derision) on the artists and releases I’ve already written about, the following unscientific, arbitary, misguided awards are intended to fill in any gaps I missed. Which means I won’t even mention that my favorite albums of the year were \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23670\">The Holy Pictures\u003c/a> by David Holmes, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22846\">There Were Wolves\u003c/a> by The Accidental, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22083\">The Golden Age\u003c/a> by American Music Club, and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22971\">For Emma, Forever Ago\u003c/a> by Bon Iver. Nope, my lips are sealed on that one.\u003c/p>\n\u003cp>So, without further ado, the winners are …\u003c/p>\n\u003cp>Best Album I Should Have Reviewed (But Didn’t): \u003cbr>Fleet Foxes: \u003cb>Fleet Foxes\u003c/b>\u003c/p>\n\u003cp>When I decided to write about modern “Americana” in July, I asked friends to recommend recent albums with at least a twinge of twang about them. Two names cropped up a lot: I quickly tracked down (and wrote about) the previously unmentioned Bon Iver, but for some reason I took my own good time finding a copy of the \u003ca href=\"http://www.subpop.com/artists/fleet_foxes\" target=\"OFFSITE\">Fleet Foxes\u003c/a> album. I regret that now. Not only is it every bit as good as Bon Iver’s, but the two of them sound great together. If Bon Iver captured the sound of midwinter in the Midwest, then the Fleet Foxes album is its summer sibling, still tinged with sadness, but fuller, lush, and fertile, like the feeling of sun on your skin.\u003c/p>\n\u003cp>George Bush Memorial Award for Most Misunderestimated Album: \u003cbr>Hayden: \u003cb>In Field & Town\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first time I heard this, I was totally underwhelmed. I think it was his voice, which is all lazy drawl and artful insouciance. But there was something else that wriggled into my brain, and the CD kept creeping back into my stereo despite my misgivings. Slowly, these quiet songs began to reveal their charms. In the end I had to admit that I had gotten it wrong. It is understated, sure, but it is also a delight, made with the kind of craft that only comes with practice (it’s \u003ca href=\"http://www.myspace.com/hayden\" target=\"OFFSITE\">Hayden\u003c/a>‘s sixth album). My bad.\u003c/p>\n\u003cp>Most Improved Live Act: \u003cbr>TV on the Radio\u003c/p>\n\u003cp>The clattering, loose-limbed eccentricities that have come to define the \u003ca href=\"http://www.tvontheradio.com/\" target=\"OFFSITE\">TV on the Radio\u003c/a> sound haven’t always worked so well live. In the past, some songs would soar, while others struggled under the weight of their own weirdness. However, with the release of the more polished \u003cb>Dear Science\u003c/b> this year, the band seem to have finally realized their full potential live. At the Warfield in November they nailed every song to the ceiling with exhilarating panache, and without sacrificing any of their brilliant idiosyncrasies.\u003c/p>\n\u003cp>Biggest Live Let Down: \u003cbr>My Bloody Valentine\u003c/p>\n\u003cp>I should have seen this one coming. Battling the twin handicaps of a terrible venue and my own unreasonably high expectations, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"OFFSITE\">MBV\u003c/a> were always going to disappoint in September. In the end, it wasn’t all bad, and some songs actually sounded pretty good. But it just wasn’t the same as seeing them when I was much younger and more impressionable. And too many songs were chewed into mush by the weird, cavernous SF Design Center. Did somebody forget to stop building that hall? It seemed to stretch on forever, as did the now predictably abusive finale of “You Made Me Realise” and its “apocalypse” section. Yeah, white noise, loud, whatever.\u003c/p>\n\u003cp>Best Song From Space (or South Africa): \u003cbr>DJ Mujava: “Township Funk”\u003c/p>\n\u003cp>Recorded by Pretoria’s \u003ca href=\"http://www.myspace.com/mujava\" target=\"OFFSITE\">DJ Mujava\u003c/a>, and released via the leftfield Warp imprint, “Township Funk” is a strange, upbeat slice of futuristic afro electronica with an outrageously catchy drumbeat. Listening to it left me full of excitement, as it reminded me that not all dance music is boring, that “world” music isn’t just about yogurt-knitted sweaters and whole-grain acoustics, and that there’s lots more weird and wonderful stuff like this to be found in unexpected places online.\u003c/p>\n\u003cp>Best Song Title: \u003cbr>Mogwai: “I’m Jim Morrison, I’m Dead” \u003c/p>\n\u003cp>The best thing about writing albums full of instrumental post-rock noise is that you can name your songs pretty much anything you want. This year, \u003ca href=\"http://www.mogwai.co.uk/\" target=\"OFFSITE\">Mogwai\u003c/a> have made the most of this freedom. As well as the prize-winning gem above, they’ve also given us “The Sun Smells Too Loud,” “I Love You, I’m Going to Blow Up Your School,” “Thank You Space Expert,” and the bafflingly brilliant “Batcat,” all from their excellent new album \u003cb>The Hawk is Howling\u003c/b>.\u003c/p>\n\u003cp>Special Excuse to Link to a Video Award:\u003cbr>“Prisencolinensinainciusol” by Adriano Celentano\u003c/p>\n\u003cp>OK, this was actually released in 1973, but it’s so good that I’m including it anyway. Enjoy, and here’s to a very happy New Year!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FcUi6UEQh00'\n title='//www.youtube.com/embed/FcUi6UEQh00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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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",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"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": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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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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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"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",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"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": {
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"source": "wnyc"
},
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