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"content": "\u003cp>Released in early 2008, \u003cb>We Brave Bee Stings And All\u003c/b> is the second album by the Virginia-raised/San Francisco-based singer-songwriter Thao Nguyen, but it’s the first with her band The Get Down Stay Down and the first for esteemed label Kill Rock Stars. The Olympia-based label has a catalog of strong songwriting personalities and Nguyen is no different, releasing a now-much-acclaimed album that showcases wit and sadness throughout eleven compelling tracks.\u003c/p>\n\u003cp>As with most of the great rock music in history, emotional strife is central to many of Thao’s song-stories, delivered with a unique voice that can project strength and resignation with equal cool. That voice guides the listener through a set of pieces blending indirect narratives with raw self-aware expressions. “Fear And Convenience” begins with a mix of those qualities, as the singer tells us, “I have seen fear and convenience/I have never glimpsed a romance/All my riches in the company van/I drove much faster than the rain.” It’s an endearing blend that makes the tales somewhat immediate while leaving much to interpretation.\u003c/p>\n\u003cp>\u003cb>We Brave Bee Stings…\u003c/b> was produced by Tucker Martine, whose resume includes a diverse array of groups like The Decemberists, Sufjan Stevens, Jesse Sykes and Laura Veirs. Martine’s also the drummer in Veirs’ band, and, as one might expect from much of his CV, has produced a record that is clean and layered with Nguyen’s voice always at the center, but never its only star. A variety of instruments get to shine over the course of the album; the song “Geography” alone rolls along on a wash of cymbals, funky bass and dueling electric and acoustic guitars, with a catchy organ line selling the groove in the chorus. Having unpacked much of the song here, it should sound like a chaotic affair, but the layers all blend seamlessly.\u003c/p>\n\u003cp>One song later, on “Feet Asleep,” the band ups the ante with piano, banjo, brass and woodwinds providing a swelling old-timey feel before everything halts and it’s just vocals and handclaps carrying the song out. That break — slightly jarring — reminds the listener that although Thao is adept at being a bandleader, and The Get Down Stay Down prove themselves a sharp band throughout, it’s her lyrical and vocal prowess that unites everything despite the varied instrumentation.\u003c/p>\n\u003cp>Nguyen has performed alongside acts with a wide variety of sounds and little audience overlap, although one is curious how fans of Xiu Xiu’s damaged rock would respond to the sweeter sounds of Rilo Kiley on a shared bill (and vice versa). Those diverse live pairings underscore the balance Thao manages between two competing roles, the nervy singer-songwriter and the catchy folk-pop bandleader. On the album, I’m inclined to say the latter wins, although I found the former’s intensity and natural charisma most appealing when I caught the group live in March. Admittedly, it’s difficult to say whether a more frenzied sound would benefit the songs’ arrangements, which coat some dark lyrics in a sweetness well worth consuming. Or, as Thao puts it on “Bag of Hammers:” “And as sharp as I sting, as sharp as I sing/It still soothes you, doesn’t it?/Like a lick of ice cream”.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Released in early 2008, \u003cb>We Brave Bee Stings And All\u003c/b> is the second album by the Virginia-raised/San Francisco-based singer-songwriter Thao Nguyen, but it’s the first with her band The Get Down Stay Down and the first for esteemed label Kill Rock Stars. The Olympia-based label has a catalog of strong songwriting personalities and Nguyen is no different, releasing a now-much-acclaimed album that showcases wit and sadness throughout eleven compelling tracks.\u003c/p>\n\u003cp>As with most of the great rock music in history, emotional strife is central to many of Thao’s song-stories, delivered with a unique voice that can project strength and resignation with equal cool. That voice guides the listener through a set of pieces blending indirect narratives with raw self-aware expressions. “Fear And Convenience” begins with a mix of those qualities, as the singer tells us, “I have seen fear and convenience/I have never glimpsed a romance/All my riches in the company van/I drove much faster than the rain.” It’s an endearing blend that makes the tales somewhat immediate while leaving much to interpretation.\u003c/p>\n\u003cp>\u003cb>We Brave Bee Stings…\u003c/b> was produced by Tucker Martine, whose resume includes a diverse array of groups like The Decemberists, Sufjan Stevens, Jesse Sykes and Laura Veirs. Martine’s also the drummer in Veirs’ band, and, as one might expect from much of his CV, has produced a record that is clean and layered with Nguyen’s voice always at the center, but never its only star. A variety of instruments get to shine over the course of the album; the song “Geography” alone rolls along on a wash of cymbals, funky bass and dueling electric and acoustic guitars, with a catchy organ line selling the groove in the chorus. Having unpacked much of the song here, it should sound like a chaotic affair, but the layers all blend seamlessly.\u003c/p>\n\u003cp>One song later, on “Feet Asleep,” the band ups the ante with piano, banjo, brass and woodwinds providing a swelling old-timey feel before everything halts and it’s just vocals and handclaps carrying the song out. That break — slightly jarring — reminds the listener that although Thao is adept at being a bandleader, and The Get Down Stay Down prove themselves a sharp band throughout, it’s her lyrical and vocal prowess that unites everything despite the varied instrumentation.\u003c/p>\n\u003cp>Nguyen has performed alongside acts with a wide variety of sounds and little audience overlap, although one is curious how fans of Xiu Xiu’s damaged rock would respond to the sweeter sounds of Rilo Kiley on a shared bill (and vice versa). Those diverse live pairings underscore the balance Thao manages between two competing roles, the nervy singer-songwriter and the catchy folk-pop bandleader. On the album, I’m inclined to say the latter wins, although I found the former’s intensity and natural charisma most appealing when I caught the group live in March. Admittedly, it’s difficult to say whether a more frenzied sound would benefit the songs’ arrangements, which coat some dark lyrics in a sweetness well worth consuming. Or, as Thao puts it on “Bag of Hammers:” “And as sharp as I sting, as sharp as I sing/It still soothes you, doesn’t it?/Like a lick of ice cream”.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although the accusation “sophomore slump” is often unfair, and never truly describes what’s happening in a less energetic second album, it \u003ci>does\u003c/i> point to a curiously consistent phenomenon. I’m hesitant to apply it to the Invisible Cities’ second album, \u003cb>Houses Shine Like Teeth\u003c/b>, but if I do, maybe it’ll help illuminate some of the dynamics in this messy, charged, and puzzling collection.\u003c/p>\n\u003cp>Their first, \u003cb>Watertown\u003c/b>, was straightforward: each song a compact burst of mood and melody; the whole exemplifying the band’s considerable range. It was the perfect first album: it sounded like the band sounds, it advocated for your interest in them, it was exactly what you want in hand when trying to woo new audiences.\u003c/p>\n\u003cp>\u003cb>Houses\u003c/b> comes five years later, so it’s not suffering from the lack of time that causes weak second albums; yet it still feels like a random collection somewhat hurried together. The most accessible songs, falling in the first half of the 15 tracks, still demonstrate Han and Sadie’s songwriting chops in their confident melodies and changes. But the import of each is somehow muddied: emotion and mood aren’t clearly communicated; quirky and confusing lyrics tease, but don’t help. Somehow, the music obscures, rather than explicates, its own sound.\u003c/p>\n\u003cp>But I don’t think they’ve given themselves enough rope to hang themselves with, either (the other sophomore slump rationalization). The songs are tightly produced, and there’s little self-indulgence here. Instead, the muddiness seems churned up by the conceptualization of the songs themselves. The artists seem to want to push their basic song structure farther than the typical song wants to be pushed. Yet this yields as much ambiguity as complexity.\u003c/p>\n\u003cp>They appear to recognize this in the second half, where the tracks depart somewhat from traditional structure and abandon strict accessibility. Starting with “Oh Drone” — a friendly, Velvet Undergroundish nod-off without the heroin — the pieces start playing with feedback, repetition, wall-of-sound effects, or combinations. But again, not enough rope: only one of these “experiments” breaches the five-minute mark, and they all keep a retaining wall. Nothing is overwhelmed by floods of anything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And this may be the problem. \u003cb>Watertown\u003c/b> was characterized by tightness and control. The Cities’ instinct to let go of the benefits of high structure is sound; you can’t evolve without creating a lot of evolutionary loose ends. But they’re still unwilling to let go of that tight control: if a song must experiment, it will experiment \u003ci>well\u003c/i>; if a song must be dissonant, it will be \u003ci>stringently\u003c/i> dissonant. I don’t mean to say that they must be onanistic, long-winded, or sloppy in order to progress. But they do have to “let go” in some way that they haven’t quite managed to in \u003cb>Houses Shine Like Teeth\u003c/b>.\u003c/p>\n\u003cp>Still, once the third, fourth and fifth albums are in (let them not each take five years!), the platinum records on the wall and their wikipedia page full of obviously fan-written glow, I think \u003cb>Houses\u003c/b> will stand as a transition from a satisfying quirky pop-rock phase into something amazing. Out of context it is eminently listenable, and no one will have any difficulty finding a favorite track, although everyone’s favorite will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Houses Shine Like Teeth\u003c/b> is available on the \u003ca href=\"http://www.theinvisiblecities.com/houses-shine-like-teeth-get-the-album/\" target=\"offsite\" rel=\"noopener\">band’s website store\u003c/a> in download or CD form, starting April 15. The first 500 downloaders get the album for free (!) and regardless of when and how you buy, if you purchase it directly from the band, you’ll get a bonus downloadable mixtape of songs from the band’s favorite indie artists.\u003c/p>\n\n",
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"content": "\u003cp>In a play about a fictional character, an actor has the luxury of being able to bring that character to life on his or her owns terms. The performance we experience is our sole benchmark for who that character is, from their personal ticks to mode of speech. It’s only when we see another actor play the same role that we indulge ourselves in the tawdry business of making comparisons.\u003c/p>\n\u003cp>But when a character in a play is based on a real person, especially one who spent time in the public eye, an actor must navigate the audience’s familiarity with that individual, along with all the prejudices and expectations such familiarity breeds. And if the play about this real person is also a “musical tribute” like \u003cb>Always… Patsy Cline\u003c/b>, the actor playing the lead has an additional, unforgiving burden. She must not only act like our picture of Patsy Cline, but she must also sing pretty darned close to the way we know, for a fact, that Cline actually sang. Judith Miller accomplishes the former, thanks to a generous smile, a period bouffant wig and several cowgirl get ups that look like they were actually stitched by someone’s mother (as Cline’s were). But when it comes to replicating Cline’s voice, I am afraid that Miller is not quite up to the task, and from the first notes out of her mouth, the folks who run San Jose Stage must have known it.\u003c/p>\n\u003cp>As I write this, the colossal unfairness of my dismissal of Miller’s vocal skills and San Jose Stage’s decision to plow ahead anyway reeks. Miller clearly knows this role and is entirely at ease inhabiting her character. In fact, she played it in 1995 at San Jose Stage with the same co-star, Marie Shell, who reprises her part as uber-Cline fan Louise Seger. Not surprisingly, the two work well together, and it doesn’t hurt that Shell’s voice sounds like it’s been marinated in nicotine and alcohol, as we imagine Louise’s might have been in real life.\u003c/p>\n\u003cp>Seger’s correspondence with Cline in the last years of the star’s life forms the basis of the play. \u003cb>Always… Patsy Cline\u003c/b> is Seger’s story, and we are right there with her in her kitchen listening to Patsy Cline on the ray-dee-oh and reminiscing about how she’d call the local DJ at all hours to get him to play Cline’s music over and over again. Later, we get to play fly on the wall when, after seeing Cline perform live in Houston, Seger brings her idol back to her house for some bacon and eggs. “Men are pigs” they agree, and the single mom’s heart breaks a little bit when Cline sings Seger’s son a middle-of-the-night lullaby. Much to Seger’s surprise, Cline makes good on her promise to stay in touch, signing several years worth of letters until her untimely death at the age of 30 with the words that have been lifted for the title of this play.\u003c/p>\n\u003cp>This is sweet, sentimental fluff. On the other hand, I’m obviously just a humorless grump because on the night I attended, the packed theater loved this show, clapping like customers in a roadhouse at the first notes of Cline hits like “Walkin’ After Midnight,” “I Fall To Pieces,” “Sweet Dreams” and Willie Nelson’s “Crazy.” (Miller does her best work on a number I associate with Connie Francis called “Stupid Cupid.” It was one of the highpoints of the show, but the song is not credited in the program.) Which brings us back to Miller’s voice, which is smoky, husky and layered. She digs hard for her notes, which sound like they have journeyed from deep within Miller’s soul before escaping her lips. Cline’s voice was similarly low (she was considered a contralto), but it bubbled up effortlessly, and she could even hit the high notes when she yodeled. Cline’s voice also had that had that marvelous crack, breaking in all the right places at all the right moments. Miller can’t mimic this, so she inserts extra notes here and there to replicate the effect. It sort of works, but in the end it’s a performance of a performance when the promise (the “musical tribute” billing) is for something more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If there is a silver lining to \u003cb>Always…\u003c/b> it is that the production values and staging are up to the usual high standards that the theater company sets for itself. And, saving the best news for last, the live band is great, with none other than Bobby Black sitting in on the Carter pedal steel guitar. Black survived the 1970s with Commander Cody, and on the night I attended he seemed to be having a fine old time. If musician as accomplished as Bobby Black doesn’t appear to have a quarrel with San Jose Stage’s version of Patsy Cline, maybe I shouldn’t either.\u003c/p>\n\u003cp>\u003cb>Always… Patsy Cline\u003c/b> runs through April 26, 2009 at San Jose Stage. For \u003ca href=\"http://www.thestage.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit thestage.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Resources\u003ca href=\"http://www.thestage.org\" target=\"offsite\" rel=\"noopener\">San Jose Stage Company\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a play about a fictional character, an actor has the luxury of being able to bring that character to life on his or her owns terms. The performance we experience is our sole benchmark for who that character is, from their personal ticks to mode of speech. It’s only when we see another actor play the same role that we indulge ourselves in the tawdry business of making comparisons.\u003c/p>\n\u003cp>But when a character in a play is based on a real person, especially one who spent time in the public eye, an actor must navigate the audience’s familiarity with that individual, along with all the prejudices and expectations such familiarity breeds. And if the play about this real person is also a “musical tribute” like \u003cb>Always… Patsy Cline\u003c/b>, the actor playing the lead has an additional, unforgiving burden. She must not only act like our picture of Patsy Cline, but she must also sing pretty darned close to the way we know, for a fact, that Cline actually sang. Judith Miller accomplishes the former, thanks to a generous smile, a period bouffant wig and several cowgirl get ups that look like they were actually stitched by someone’s mother (as Cline’s were). But when it comes to replicating Cline’s voice, I am afraid that Miller is not quite up to the task, and from the first notes out of her mouth, the folks who run San Jose Stage must have known it.\u003c/p>\n\u003cp>As I write this, the colossal unfairness of my dismissal of Miller’s vocal skills and San Jose Stage’s decision to plow ahead anyway reeks. Miller clearly knows this role and is entirely at ease inhabiting her character. In fact, she played it in 1995 at San Jose Stage with the same co-star, Marie Shell, who reprises her part as uber-Cline fan Louise Seger. Not surprisingly, the two work well together, and it doesn’t hurt that Shell’s voice sounds like it’s been marinated in nicotine and alcohol, as we imagine Louise’s might have been in real life.\u003c/p>\n\u003cp>Seger’s correspondence with Cline in the last years of the star’s life forms the basis of the play. \u003cb>Always… Patsy Cline\u003c/b> is Seger’s story, and we are right there with her in her kitchen listening to Patsy Cline on the ray-dee-oh and reminiscing about how she’d call the local DJ at all hours to get him to play Cline’s music over and over again. Later, we get to play fly on the wall when, after seeing Cline perform live in Houston, Seger brings her idol back to her house for some bacon and eggs. “Men are pigs” they agree, and the single mom’s heart breaks a little bit when Cline sings Seger’s son a middle-of-the-night lullaby. Much to Seger’s surprise, Cline makes good on her promise to stay in touch, signing several years worth of letters until her untimely death at the age of 30 with the words that have been lifted for the title of this play.\u003c/p>\n\u003cp>This is sweet, sentimental fluff. On the other hand, I’m obviously just a humorless grump because on the night I attended, the packed theater loved this show, clapping like customers in a roadhouse at the first notes of Cline hits like “Walkin’ After Midnight,” “I Fall To Pieces,” “Sweet Dreams” and Willie Nelson’s “Crazy.” (Miller does her best work on a number I associate with Connie Francis called “Stupid Cupid.” It was one of the highpoints of the show, but the song is not credited in the program.) Which brings us back to Miller’s voice, which is smoky, husky and layered. She digs hard for her notes, which sound like they have journeyed from deep within Miller’s soul before escaping her lips. Cline’s voice was similarly low (she was considered a contralto), but it bubbled up effortlessly, and she could even hit the high notes when she yodeled. Cline’s voice also had that had that marvelous crack, breaking in all the right places at all the right moments. Miller can’t mimic this, so she inserts extra notes here and there to replicate the effect. It sort of works, but in the end it’s a performance of a performance when the promise (the “musical tribute” billing) is for something more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If there is a silver lining to \u003cb>Always…\u003c/b> it is that the production values and staging are up to the usual high standards that the theater company sets for itself. And, saving the best news for last, the live band is great, with none other than Bobby Black sitting in on the Carter pedal steel guitar. Black survived the 1970s with Commander Cody, and on the night I attended he seemed to be having a fine old time. If musician as accomplished as Bobby Black doesn’t appear to have a quarrel with San Jose Stage’s version of Patsy Cline, maybe I shouldn’t either.\u003c/p>\n\u003cp>\u003cb>Always… Patsy Cline\u003c/b> runs through April 26, 2009 at San Jose Stage. For \u003ca href=\"http://www.thestage.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit thestage.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Resources\u003ca href=\"http://www.thestage.org\" target=\"offsite\" rel=\"noopener\">San Jose Stage Company\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Santa Cruz psych rock band Mammatus are an earthy group with an affinity for the natural world, though to them it’s more mystical than scientific. They’re named after a cloud formation, and they name their songs after elements, dragons, and forest paths. It’s not a new trope for the hard rock world, but Mammatus have shown a remarkable ability to evolve.\u003c/p>\n\u003cp>I don’t know if Mammatus’s eponymous album blew anyone’s mind when it came out in 2006. It sounds assertive. It ebbs and flows where it should. Heavy and slow, loud then soft. But it’s an album where Mammatus seem to be asking, can we do this? Are we a psych band? When the last song, the 22-minute long jam “Dragon of the Deep, Pt. Two” fades out at the end of the record, the answer is yeah, sure. It’s a totally competent, totally good record.\u003c/p>\n\u003cp>“Dragon of the Deep, Pt. Three (Excellent Swordfight)” fades up at the beginning of Mammatus’s 2007 release, \u003cb>The Coast Explodes\u003c/b>, picking up where the self-titled record left off. Then it quickly skips ahead to a new conversation. Mammatus are pushing for more. \u003cb>The Coast Explodes\u003c/b> is a mysterious, soaring, searching record. Harmonic moments slide into noise, guitar riffs nimbly flutter in and out of songs, eerie singing and strange chants emerge from the drone, then fade away. Mammatus aren’t wondering anymore who they are, now they’re experimenting with what they can do and where they can go.\u003c/p>\n\u003cp>In 2007 the band went on tour with Japanese psych heroes Acid Mothers Temple, took to wearing long wizards’ robes and flooding the audience with fog. Mammatus have since foregone the costumes and props, but their show is still gripping. They don’t need robes or fog machines to help them communicate their epic fervor.\u003c/p>\n\u003cp>Mammatus are playing Saturday, April 11, 2009 at 924 Gilman in Berkeley. For \u003ca href=\"http://www.924gilman.org/calendar.html\">more information\u003c/a> visit 924gilman.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Rocker Studios, a home-away-from-home for San Francisco bands for 15 years, closed its doors this month. The Dogpatch building had 30 practice rooms where bands could make noise and store their equipment. In a city as dense and expensive as San Francisco, that kind of space was a rarity.\u003c/p>\n\u003cp>Practice spaces are havens for bands. They’re labyrinthine warehouses, usually loud, filthy and dark, reeking of stale beer and smoke. They wouldn’t seem alluring, but they are. There’s no one there to watch or critique a band; the only people around are other musicians. And if a band is in the same room for long enough, the room starts to take on the band’s personality. Not just empty beer bottles, but ephemera and strange trash: flyers from shows, set lists and notes with lyrics or chord progressions, costumes, and broken — or novelty — instruments.\u003c/p>\n\u003cp>John Rocker, owner of Rocker Studios, said he opened the space when he was looking for a place for his own band to practice. He couldn’t find a space suitable for one band, but did find the building on the corner of Third Street and 26th Street in — at the time — a mostly industrial neighborhood. Rocker never owned the building. That end of Third Street has changed in the past fifteen years, and when his lease ended this month the landlord didn’t offer him the option to renew it. Though there have been rumors that the building will be replaced by condos, Rocker isn’t sure what the landlords plan to do with it. Bands were given two weeks to clear out of their rooms.\u003c/p>\n\u003cp>On the last day, people emptied their rooms and packed up equipment to stuff into their apartments around the city. Some bands took the opportunity to celebrate and say goodbye. Utrillo Kushner, of the band \u003ca href=\"http://www.cometsonfire.com/\">Comets on Fire\u003c/a>, invited a few bands to play and threw a party in his room on the last night.\u003c/p>\n\u003cp>“I was in that disgusting place for so many hours,” he said the week following his eviction. “I recorded a couple records in there, and I remember rehearsing there for my first U.S. tour and my first European tour, and rehearsing before recording albums. I felt bad, and thought, I have to have something fun there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are other practice spaces in San Francisco. Rocker owns one in SoMa, and he’s looking for a new building to house Rocker Studios. But he says it’s getting harder to find good buildings. Rocker suspects most practice spaces will move to Oakland, where there’s more space and rent is cheaper.\u003c/p>\n\u003cp>Now, as the displaced bands look for new places to practice and hang out, the building that housed Rocker Studios looks abandoned. Kushner said he is curious about what will happen to it, though.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When I move out of apartments, I don’t usually go back and check them out. But if I have free time, I might cruise by Third Street and see what’s going on there in the next few months.”\u003c/p>\n\n",
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"title": "Understanding South by Southwest",
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"content": "\u003cp>Many an exhausted blogger returned this week from the 2009 \u003ca href=\"http://sxsw.com/\">South by Southwest Music Festival\u003c/a> in Austin, Texas, which once again delivered a bevy of memorable highlights and signaled that even if the music industry is collapsing along with the rest of the economy, there remains no shortage of great bands to be heard. Started in 1987, this year’s fest was the biggest one yet and featured 1,900 bands. At its core, the festival remains an industry event, featuring dozens of very business-sounding panels during the day, and official band showcases to discover the “next big thing” at night.\u003c/p>\n\u003cp>Over time, however, the combination of a thousand-plus bands looking for opportunities to be heard and tens of thousands of music fans looking to avoid conference panels have created a blossoming scene outside of the official festival. In many ways, the world of day parties is even more appealing than the officially-sanctioned stuff. The days are so supply-heavy that even the strongest of free parties will promise free beer or food to lure in prospective audiences. And the wealth of talent means that one can see daytime lineups that wouldn’t otherwise be possible, turning a festival where one might see twenty bands in showcases into a place where it’s possible to catch several times that many.\u003c/p>\n\u003cp>The festival’s continued electricity is as much the result of the social and public policy choices of the City of Austin as it is the wealth of talented bands in attendance. Austin bills itself as the “Live Music Capital of the World,” but despite a fair number of successful bands, the city is not known nationally as having a thriving indie rock scene. This commitment to live music does mean, however, that most of the dozens of bars in the downtown area surrounding Sixth Street have some sort of stage and PA system. Add that to the fact that the city’s residents appear at least superficially willing to put up with the wandering hordes of tipsy hipsters who help make the festival the highest revenue-producing special event in Austin’s economy (2008’s fest brought in an estimated $110 million), and Austin becomes the ideal place for a tornado of indie hopefuls to come blowing through every March.\u003c/p>\n\u003cp>That tornado makes South by Southwest an absolutely great time to be a music fan with all of the upsides and downsides of any buffet. Personal highlights in this year’s festival were many and varied, ranging from the captivating folk-rock of \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> and \u003ca href=\"http://www.myspace.com/theraa\">Rural Alberta Advantage\u003c/a> to new spins on Euro-electro-pop from \u003ca href=\"http://www.myspace.com/iloveyelle\">Yelle\u003c/a> and \u003ca href=\"http://www.myspace.com/littlebootsmusic\">Little Boots\u003c/a>. Bay Area artists represented too, and I caught an amazing set of spiritual psych from San Francisco’s \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a>, the heady pop of \u003ca href=\"http://www.myspace.com/girlssanfran\">Girls\u003c/a>, and the always terrific garage sounds of \u003ca>Thee Oh Sees\u003c/a>. The festival’s buzz band reputation didn’t disappoint, and I’d advise readers to look out for \u003ca>Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/passionpitjams\">Passion Pit\u003c/a>, two bands that will almost assuredly blow up in the near future.\u003c/p>\n\u003cp>As happens every year, however, overconsumption eventually becomes a little less fun. Fatigue sets in, the feet begin aching, and the opportunity to see free live music and drink beer begins to feel a little bit more like a chore than a treat. That exhaustion — which I hit this year about 56 bands in — is probably why Saturday, the final day, always feels a bit underwhelming. So I only saw two bands during the day, and opted Saturday night for reliable bets like \u003ca href=\"http://www.theoctopusproject.com/\">The Octopus Project\u003c/a> and the legendary-but-new-to-me \u003ca href=\"http://www.myspace.com/trailofdead\">…And You Will Know Us by the Trail of Dead\u003c/a> over the prospect of new discoveries. Both bands are two of the biggest to emerge from Austin in recent years and they didn’t disappoint, with the former offering a percolating set of instrumental electro-rock and the latter delivering a heavy, loud, and ultimately cathartic slab of rock and roll. It felt like a fitting end to a thoroughly enjoyable and exhausting week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having attended for the last five years, I’m still not exactly sure whether, on balance, most bands really benefit from the Texas pilgrimage. It often feels like there are simply too many of them competing to reach most of the South By audience and I doubt that most of the free CDs one gets during the festival week are ever actually listened to. Over the festival week, it feels as if each new band faces the prospect of a diminishing impact on a bloated listener already stuffed on new discoveries. Rather, I’d wager that most bands that build a buzz post-SXSW already have one going in, particularly now that the internet has opened up new avenues of self-promotion and new music discovery and an army of bloggers and fans spend all year searching for their own “next big things” online. But if playing the right show to get signed by the right label doesn’t mean much when you can sell your music yourself on iTunes, it’s still an opportunity for the music world’s PR firms, managers and journalists to discover the bands they’ll be promoting, booking, and blogging about over the next year. And in the new music economy if that buzz can translate into downloads and tickets sales, it is probably as or more valuable than a great record label deal ever was.\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>Many an exhausted blogger returned this week from the 2009 \u003ca href=\"http://sxsw.com/\">South by Southwest Music Festival\u003c/a> in Austin, Texas, which once again delivered a bevy of memorable highlights and signaled that even if the music industry is collapsing along with the rest of the economy, there remains no shortage of great bands to be heard. Started in 1987, this year’s fest was the biggest one yet and featured 1,900 bands. At its core, the festival remains an industry event, featuring dozens of very business-sounding panels during the day, and official band showcases to discover the “next big thing” at night.\u003c/p>\n\u003cp>Over time, however, the combination of a thousand-plus bands looking for opportunities to be heard and tens of thousands of music fans looking to avoid conference panels have created a blossoming scene outside of the official festival. In many ways, the world of day parties is even more appealing than the officially-sanctioned stuff. The days are so supply-heavy that even the strongest of free parties will promise free beer or food to lure in prospective audiences. And the wealth of talent means that one can see daytime lineups that wouldn’t otherwise be possible, turning a festival where one might see twenty bands in showcases into a place where it’s possible to catch several times that many.\u003c/p>\n\u003cp>The festival’s continued electricity is as much the result of the social and public policy choices of the City of Austin as it is the wealth of talented bands in attendance. Austin bills itself as the “Live Music Capital of the World,” but despite a fair number of successful bands, the city is not known nationally as having a thriving indie rock scene. This commitment to live music does mean, however, that most of the dozens of bars in the downtown area surrounding Sixth Street have some sort of stage and PA system. Add that to the fact that the city’s residents appear at least superficially willing to put up with the wandering hordes of tipsy hipsters who help make the festival the highest revenue-producing special event in Austin’s economy (2008’s fest brought in an estimated $110 million), and Austin becomes the ideal place for a tornado of indie hopefuls to come blowing through every March.\u003c/p>\n\u003cp>That tornado makes South by Southwest an absolutely great time to be a music fan with all of the upsides and downsides of any buffet. Personal highlights in this year’s festival were many and varied, ranging from the captivating folk-rock of \u003ca href=\"http://www.myspace.com/lochlomondmusic\">Loch Lomond\u003c/a> and \u003ca href=\"http://www.myspace.com/theraa\">Rural Alberta Advantage\u003c/a> to new spins on Euro-electro-pop from \u003ca href=\"http://www.myspace.com/iloveyelle\">Yelle\u003c/a> and \u003ca href=\"http://www.myspace.com/littlebootsmusic\">Little Boots\u003c/a>. Bay Area artists represented too, and I caught an amazing set of spiritual psych from San Francisco’s \u003ca href=\"http://www.myspace.com/sleepysun\">Sleepy Sun\u003c/a>, the heady pop of \u003ca href=\"http://www.myspace.com/girlssanfran\">Girls\u003c/a>, and the always terrific garage sounds of \u003ca>Thee Oh Sees\u003c/a>. The festival’s buzz band reputation didn’t disappoint, and I’d advise readers to look out for \u003ca>Telekinesis\u003c/a> and \u003ca href=\"http://www.myspace.com/passionpitjams\">Passion Pit\u003c/a>, two bands that will almost assuredly blow up in the near future.\u003c/p>\n\u003cp>As happens every year, however, overconsumption eventually becomes a little less fun. Fatigue sets in, the feet begin aching, and the opportunity to see free live music and drink beer begins to feel a little bit more like a chore than a treat. That exhaustion — which I hit this year about 56 bands in — is probably why Saturday, the final day, always feels a bit underwhelming. So I only saw two bands during the day, and opted Saturday night for reliable bets like \u003ca href=\"http://www.theoctopusproject.com/\">The Octopus Project\u003c/a> and the legendary-but-new-to-me \u003ca href=\"http://www.myspace.com/trailofdead\">…And You Will Know Us by the Trail of Dead\u003c/a> over the prospect of new discoveries. Both bands are two of the biggest to emerge from Austin in recent years and they didn’t disappoint, with the former offering a percolating set of instrumental electro-rock and the latter delivering a heavy, loud, and ultimately cathartic slab of rock and roll. It felt like a fitting end to a thoroughly enjoyable and exhausting week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having attended for the last five years, I’m still not exactly sure whether, on balance, most bands really benefit from the Texas pilgrimage. It often feels like there are simply too many of them competing to reach most of the South By audience and I doubt that most of the free CDs one gets during the festival week are ever actually listened to. Over the festival week, it feels as if each new band faces the prospect of a diminishing impact on a bloated listener already stuffed on new discoveries. Rather, I’d wager that most bands that build a buzz post-SXSW already have one going in, particularly now that the internet has opened up new avenues of self-promotion and new music discovery and an army of bloggers and fans spend all year searching for their own “next big things” online. But if playing the right show to get signed by the right label doesn’t mean much when you can sell your music yourself on iTunes, it’s still an opportunity for the music world’s PR firms, managers and journalists to discover the bands they’ll be promoting, booking, and blogging about over the next year. And in the new music economy if that buzz can translate into downloads and tickets sales, it is probably as or more valuable than a great record label deal ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larger-than-life vamp Karen O recently turned 30 and has moved beyond her younger, thrills-and-frills persona best known for spitting warm beer on crowds and deep-throating microphones. And, in what O calls “the autumn of [their] career,” the Yeah Yeah Yeahs have also matured and branched out from their old roaring sound that made so much sense in dark basement clubs packed with 20-somethings.\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b>, the third full-length LP by the art-punk iconoclasts, is quite the departure from the raucous, whiskey-laced freak-outs that put them on the map. Mostly gone is that raw, grimy axe-driven blare, replaced by a more polished package of synth-heavy dance rock and swooning ballads. If the earlier YYYs records are the equivalent of a patchy, rabid dog biting after the postman, \u003cb>It’s Blitz!\u003c/b> is the muzzle placed over its fangs. The taming is for the best, yet something is lost without the spectacle of the mailman dashing for his life.\u003c/p>\n\u003cp>Nevertheless, \u003cb>It’s Blitz!\u003c/b> is still an endearing effort. The album kick-starts with “Zero,” a kinky little track that celebrates those on the fringe. An insistent taser zaps around O’s vocals, demanding attention and giving the song a sense of urgency. “Heads Will Roll,” another highly addictive dance number, picks up where “Zero” leaves off. The song’s catchy new-wave feel paints the picture of a dancehall bloodbath. “Off with your head/Dance ’til you’re dead,” Karen O commands.\u003c/p>\n\u003cp>A more hushed couple follows these two high-energy tracks. “Soft Shock” is a dreamy song filled with O’s sincere coo and some pseudo beat-boxing. And “Skeletons,” a vulnerable lament with a pretty hook (“Love, don’t cry/Skeleton me”), investigates what lies beneath the surface, past the cloak of skin and flesh to skeletal revelation. Drumsticks clatter like bones in the background to create a haunting, lovely sound that reminds listeners of the mortality of their relationships and of themselves. Both songs are the closest the YYYs have come to recreating the grandeur of their monster hit “Maps.”\u003c/p>\n\u003cp>Other notables are “Dull Life,” the audio result of Karen O crashing a honky-tonk; “Shame and Fortune,” an edgy song with a sinister metal sound; and “Dragon Queen,” a groovy jam with a sexy refrain (“My mouth is touching your mouth”) and funk courtesy of TV on the Radio’s Kyp Malone and Tunde Adebimpe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of the tracks, mostly ballads, seem emaciated compared to their full-bodied cousins. Such a prevalence of slower songs is unusual for a band so good at going sonically insane. Karen O explains the tonal shift: “What I like least about electronic music is that there’s often an emotional detachment, so it was really important for me to avoid that.” Can’t blame a girl for trying, but, out of the five mid-to-low tempo tracks, only “Skeletons” and “Soft Shock” truly succeed. Even so, the combination of this one-two punch and the album’s thundering dance tracks is a force mighty enough to compensate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b> doesn’t throttle necks like the band’s debut, \u003cb>Fever to Tell\u003c/b>, but it doesn’t intend to. The Yeah Yeah Yeahs have already conquered that territory and now they’re on the move to capture new ground. There’s something to be said for a band that leaves a sound that works (something most musicians never achieve) for the unknown. They haven’t quite found their way to the noise they’re hunting, but they’re dangerously close. And, besides, the journey is half the fun.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larger-than-life vamp Karen O recently turned 30 and has moved beyond her younger, thrills-and-frills persona best known for spitting warm beer on crowds and deep-throating microphones. And, in what O calls “the autumn of [their] career,” the Yeah Yeah Yeahs have also matured and branched out from their old roaring sound that made so much sense in dark basement clubs packed with 20-somethings.\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b>, the third full-length LP by the art-punk iconoclasts, is quite the departure from the raucous, whiskey-laced freak-outs that put them on the map. Mostly gone is that raw, grimy axe-driven blare, replaced by a more polished package of synth-heavy dance rock and swooning ballads. If the earlier YYYs records are the equivalent of a patchy, rabid dog biting after the postman, \u003cb>It’s Blitz!\u003c/b> is the muzzle placed over its fangs. The taming is for the best, yet something is lost without the spectacle of the mailman dashing for his life.\u003c/p>\n\u003cp>Nevertheless, \u003cb>It’s Blitz!\u003c/b> is still an endearing effort. The album kick-starts with “Zero,” a kinky little track that celebrates those on the fringe. An insistent taser zaps around O’s vocals, demanding attention and giving the song a sense of urgency. “Heads Will Roll,” another highly addictive dance number, picks up where “Zero” leaves off. The song’s catchy new-wave feel paints the picture of a dancehall bloodbath. “Off with your head/Dance ’til you’re dead,” Karen O commands.\u003c/p>\n\u003cp>A more hushed couple follows these two high-energy tracks. “Soft Shock” is a dreamy song filled with O’s sincere coo and some pseudo beat-boxing. And “Skeletons,” a vulnerable lament with a pretty hook (“Love, don’t cry/Skeleton me”), investigates what lies beneath the surface, past the cloak of skin and flesh to skeletal revelation. Drumsticks clatter like bones in the background to create a haunting, lovely sound that reminds listeners of the mortality of their relationships and of themselves. Both songs are the closest the YYYs have come to recreating the grandeur of their monster hit “Maps.”\u003c/p>\n\u003cp>Other notables are “Dull Life,” the audio result of Karen O crashing a honky-tonk; “Shame and Fortune,” an edgy song with a sinister metal sound; and “Dragon Queen,” a groovy jam with a sexy refrain (“My mouth is touching your mouth”) and funk courtesy of TV on the Radio’s Kyp Malone and Tunde Adebimpe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of the tracks, mostly ballads, seem emaciated compared to their full-bodied cousins. Such a prevalence of slower songs is unusual for a band so good at going sonically insane. Karen O explains the tonal shift: “What I like least about electronic music is that there’s often an emotional detachment, so it was really important for me to avoid that.” Can’t blame a girl for trying, but, out of the five mid-to-low tempo tracks, only “Skeletons” and “Soft Shock” truly succeed. Even so, the combination of this one-two punch and the album’s thundering dance tracks is a force mighty enough to compensate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>It’s Blitz!\u003c/b> doesn’t throttle necks like the band’s debut, \u003cb>Fever to Tell\u003c/b>, but it doesn’t intend to. The Yeah Yeah Yeahs have already conquered that territory and now they’re on the move to capture new ground. There’s something to be said for a band that leaves a sound that works (something most musicians never achieve) for the unknown. They haven’t quite found their way to the noise they’re hunting, but they’re dangerously close. And, besides, the journey is half the fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"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.",
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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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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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/",
"meta": {
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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?",
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