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"content": "\u003cp>I’ll probably get myself in trouble for saying that I think \u003cb>Offend Maggie\u003c/b> is Deerhoof’s best project yet. While many critics have been quick to point out that the band has settled into a pattern of similar-sounding experimental music after 10 albums, this project brings a kind of lightness and optimism that is quite new for them. Many of their previous efforts have necessitated the listener have a certain, shall we say, sonic open-mindedness.\u003c/p>\n\u003cp>It’s hard to gauge how the lifers will respond, both to this more melodic Deerhoof and to the more trendy fans it is likely to spawn. The songs on \u003cb>Offend Maggie\u003c/b> are generally much less aggressive — many sublime, and some even danceable. And the emotion on these albums is put in a more relatable musical context, while of course still maintaining the dissonance and experimentation that has gotten them to where they are.\u003c/p>\n\u003cp>Despite any subtle or even more substantial changes, there still is no experience quite like listening to a Deerhoof song. Discussing originality or novelty in the context of a Deerhoof album is quite futile, and I think a lot of critics (myself included) still have trouble critiquing something that is not so much musically unique as a redefinition of aural pleasure. \u003cb>Offend Maggie\u003c/b> brings this to a new, easier to reach level.\u003c/p>\n\u003cp>The first song on the album, “The Tears and Music of Love,” starts with a powerful, rhythmic guitar line and vocalist Satomi Matsuzaki quickly begins her forcefully adorable treatment of a mostly tonal melody. But classic Deerhoof comes through as they chop every forth measure in half, creating a kind of hiccup in the rhythm.\u003c/p>\n\u003cp>Another highlight of the album, “Basket Ball Get Your Groove Back,” literally made me giggle the first time I heard it because of its silly lyrics (repeat of words like “b-ball” and “rebound” and something that sounds like “bunny jump”) and the childlike combination of the rhythm and melody. This song as well as others on the record really treat the voice as a percussion instrument as much as a melodic one, which creates a fantastic mood and drive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I won’t dwell on this next point, but I’m seeing a pattern in indie music where fans are much more apt to gravitate toward gibberish and/or languages they do not understand. Of course, the bands that make such music, are often fronted by voices radiant enough to overcome any lyrical deficiencies, as is the case with Matsuzaki. But I wonder how far this trend can go before people start yearning for a good poem again.\u003c/p>\n\u003cp>The song “Family of Others” is certainly one of the more oddball tracks on the album. It begins with noisy dissonance and soon a kind of bizarre modern vocal counterpoint comes in, only to quickly change again into a lighthearted acoustic tune. It’s one of the most disjointed songs on the album, as if the band didn’t think each segment warranted its own song, so they magically formulated a way to sew them together. It works, but that’s just how Deerhoof does it.\u003c/p>\n\u003cp>This is the music theory nerd in me talking, but I have to wonder how formulated these odd harmonies and dissonances are. It’s possible that they just come out of the band naturally, without much calculation. That seems most likely, considering how laborious it would be for any band to figure out that a C# thirteenth flat nine chord works for a particular section of a song. But the musical sensibility that allows for extreme dissonance and arhythm while still making the music listenable is precisely why Deerhoof is still around, and still surprising us.\u003c/p>\n\u003cp>Deerhoof will return to the Bay Area for a show at the Mezzanine on November 15, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>If all you know from Patti Smith is the wicked parody by Gilda Radner, whose foul-mouthed Candy Slice debuted on \u003cb>Saturday Night Live\u003c/b> in 1978, then \u003cb>Patti Smith: Dream of Life\u003c/b> is probably not for you. This new documentary by Steven Sebring is going to seem too serious, too arty, too insufferably pretentious by half. It’s all those things, whether you are a Patti Smith devotee or not, but it’s also a remarkable and intimate character study of a singular individual, who just happens to be one of the most influential artists of our time.\u003c/p>\n\u003cp>Eleven years in the making, with all the lack of continuity that you’d expect from such an extended shooting schedule, \u003cb>Dream of Life\u003c/b> is like some sort of qualude-soaked sleep walk, more dream at times than life. 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Even less insightful is the poem Smith tells us that Allen Ginsberg sent her upon the death of her husband in 1994: “Let go of the spirit of the departed and continue your life’s celebration.” Must be from Ginsberg’s little-studied Hallmark period…\u003c/p>\n\u003cp>The thing that makes the film worth its almost two-hour running time, of course, is Patti Smith, who comes across as gracious, funny, and completely sincere. Unfortunately, as she is sharing herself so openly with us, director Steven Sebring is busy digging into his bag of tricks as a fashion photographer, pulling out shots and crops and dalliances in black and white that would look perfectly at home in a Coach, DKNY, or Ralph Lauren ad, to name but a few of his clients. Sebring, for example, is incapable of simply showing performers at CBGB’s in real time and with real sounds emanating from their guitars; instead we get impressionistic, slow-motion, headless horsemen, with mournful cello music in the background.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least when we see Smith on stage, the director restrains himself and documents his subject reasonably faithfully, putting his artistic vision on the shelf for a change. I could have done with a lot more performance footage, not because I wish Sebring had made more of a concert film than a memento mori, but to permit the artist’s art to speak for itself.\u003c/p>\n\u003cp>\u003cb>Patti Smith: Dream of Life\u003c/b> opens October 17, 2008 at the Lumiere Theatre in San Francisco and the Shattuck Cinemas in Berkeley. Patti Smith and director Steven Sebring will be at the Lumiere on October 19 to talk about the film and sign copies of the companion book. For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti Smith and her band perform live at the Warfield on Monday, October 20, 2008. For \u003ca href=\"http://aeglive.com/showdetail.php?id=19830&detail_type=event\" target=\"offsite\" rel=\"noopener\">concert tickets\u003c/a>, visit aeglive.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least when we see Smith on stage, the director restrains himself and documents his subject reasonably faithfully, putting his artistic vision on the shelf for a change. I could have done with a lot more performance footage, not because I wish Sebring had made more of a concert film than a memento mori, but to permit the artist’s art to speak for itself.\u003c/p>\n\u003cp>\u003cb>Patti Smith: Dream of Life\u003c/b> opens October 17, 2008 at the Lumiere Theatre in San Francisco and the Shattuck Cinemas in Berkeley. Patti Smith and director Steven Sebring will be at the Lumiere on October 19 to talk about the film and sign copies of the companion book. For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti Smith and her band perform live at the Warfield on Monday, October 20, 2008. For \u003ca href=\"http://aeglive.com/showdetail.php?id=19830&detail_type=event\" target=\"offsite\" rel=\"noopener\">concert tickets\u003c/a>, visit aeglive.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week’s podcast episode spotlights San Francisco’s Loquat, a quintet that creates catchy, melodic indie pop with a mix of electronic and traditional rock sounds. In 2005, the band released \u003cb>It’s Yours To Keep\u003c/b>, a full length debut that continues to win new fans with its seductively catchy songs. In the three years the band has been working on their latest album, their live shows have continued to please crowds, including a set at the Bay Area Takeover that remains one of our South by Southwest highlights. Today, the wait for Loquat’s latest is over, with the release of \u003cb>Secrets of the Sea\u003c/b> on Talking House Records.\u003c/p>\n\u003cp> <p.A lot of bands tend to overwhelm the listener with electronic layers and production tricks, but Loquat's sound manages to feel simultaneously full and slinky. There's sophisticated songwriting at work here, but the well-placed synth sounds and funky low end make it super danceable as well. Add to that Kylee Swenson's strong vocals and moving personal lyrics, and you've got an album that should appeal to fans of indie pop and synth-rock alike. It's also an exciting next step for this very talented Bay Area band.\u003c/p>\n\u003cp>We sat down with members of Loquat a few months ago, discussing the long creative process behind the new album and the band’s plans now that it’s out. We’re pleased to include four songs from \u003cb>Secrets of the Sea\u003c/b> along with excerpts from that conversation.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, November 8, 2008\u003cbr>Bottom of the Hill\u003cbr>with The Frail and Mist and Mast\u003cbr>10pm, $12, all ages\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week’s podcast episode spotlights San Francisco’s Loquat, a quintet that creates catchy, melodic indie pop with a mix of electronic and traditional rock sounds. In 2005, the band released \u003cb>It’s Yours To Keep\u003c/b>, a full length debut that continues to win new fans with its seductively catchy songs. In the three years the band has been working on their latest album, their live shows have continued to please crowds, including a set at the Bay Area Takeover that remains one of our South by Southwest highlights. Today, the wait for Loquat’s latest is over, with the release of \u003cb>Secrets of the Sea\u003c/b> on Talking House Records.\u003c/p>\n\u003cp> <p.A lot of bands tend to overwhelm the listener with electronic layers and production tricks, but Loquat's sound manages to feel simultaneously full and slinky. There's sophisticated songwriting at work here, but the well-placed synth sounds and funky low end make it super danceable as well. Add to that Kylee Swenson's strong vocals and moving personal lyrics, and you've got an album that should appeal to fans of indie pop and synth-rock alike. It's also an exciting next step for this very talented Bay Area band.\u003c/p>\n\u003cp>We sat down with members of Loquat a few months ago, discussing the long creative process behind the new album and the band’s plans now that it’s out. We’re pleased to include four songs from \u003cb>Secrets of the Sea\u003c/b> along with excerpts from that conversation.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, November 8, 2008\u003cbr>Bottom of the Hill\u003cbr>with The Frail and Mist and Mast\u003cbr>10pm, $12, all ages\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c/p>\u003cp>Devotional music has a pretty bad rep among nonbelieving sections of the listening public. It’s easy to understand why if you have ever endured one of those interminable ads for mail-order-only collections of bland Christian rock on TV. Despite the existence of such unholy dross in this world (but hopefully not the next), there remains a rich seam of music inspired by the almighty that can stir the heart of even the most godless listener; it just doesn’t tend to be advertised on daytime cable.\u003c/p>\u003cp>The full-blooded harmonies of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1534280\" target=\"OFFSITE\">Sacred Harp\u003c/a> singing is an ideal example. Few people have heard of this uniquely American choral tradition outside of the few Southern backwaters where it was born in the early 1800s. For two centures, small congregations have gathered for communal recitals known simply as a “singing.” But these are no ordinary church choirs. The music is rebellious in its disregard for musical convention, punk in its inclusivity, and powerful in a way that only music performed with true passion can be, regardless of what may have inspired it.\u003c/p>\u003cp>The first important thing you need to know about Sacred Harp music is there aren’t any harps involved. Sung without accompaniment, the name instead refers to the voice, our “god-given” instrument. There is no audience either, only participants. Individuals take turns to lead the group in a song, standing in the center of a square of singers, who all sit facing the middle. Each side of the square takes a different vocal part: treble, alto, tenor, and bass.\u003c/p>\u003cp>The music is written using a unique system of notation, with four notes (fa, sol, la, mi) represented by four shapes to make it easier to read (which gives rise to the tradition’s other name: shape-note music). These four notes, repeated to form the octave, are sung by name through the first verse of each song, before more conventional lyrics take over. That first run-through of nonsensical syllables evokes both the idea of singing in tongues, and the doo-doo-doo style harmonies of rock bands such as the Beach Boys (although a closer reference here might be the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1132233\" target=\"OFFSITE\">Langley Music Project\u003c/a>‘s Beach Boys cover versions).\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like much of the world’s best music, Sacred Harp is performed at full volume throughout. As participation is mandatory, some of the singers are not the most accomplished vocalists, but the lack of skill in some is more than compensated for by the spirit and enthusiasm of all. Underneath the complex, repeating harmonies, the music is driven on by a stomping rhythm that never seems to let up.\u003c/p>\u003cp>The story of The Sacred Harp can be traced back to the traditions of the earliest puritan pilgrims, whose austere beliefs didn’t (as many people may think) extend to banning music completely. However, instruments were seen as an unneccesary indulgence, as was the idea of singing anything other than the Psalms, or anywhere outside of church.\u003c/p>\u003cp>Hence an a cappella tradition was born that spread as these early immigrants swelled in number and moved south. The tunes developed in style, becoming quite different from the English hymns they had started out as. Relatively untrained musicians added new compositions to the canon with little regard to European conventions and rules. Indeed, the story provides an interesting argument against the widely accepted idea that jazz is modern America’s first indigenous musical form.\u003c/p>\u003cp>These unconventional songs grew in number and popularity. In 1844, Benjamin Franklin White and Elisha J. King put together a collection of more than 250 popular and original songs, called \u003ci>The Sacred Harp\u003c/i>. This book has served as the tradition’s other bible ever since, its revisions and changes reflecting the schisms and evolution of the musical movement itself.\u003c/p>\u003cp>This story is told in the movie documentary \u003ca href=\"http://awakemysoul.com/\" target=\"OFFSITE\">Awake, My Soul\u003c/a>, which in turn has given birth to a soundtrack CD of the same name, featuring performances by contemporary choirs who are helping to keep the tradition alive. Each song begins the same way: with a wave of voices rising together with irrepressible vigor. Even the odd bum notes songs are sung with such unbridled enthusiasm that you begin to wonder if the mistake might be yours rather than theirs. The rough edges are part of the pleasure; one track, “Restoration 312b,” even features a child crying in the background. The whole thing is wonderfully, strangely real.\u003c/p>\u003cp>And now, to accompany a new DVD release of the film, a second CD has been added: \u003ca href=\"http://www.myspace.com/helpmetosing\" target=\"OFFSITE\">Help Me To Sing\u003c/a> features modern musicians performing their own versions of the songs of the Sacred Harp. While the authentic versions are relentless in their intensity and forcefulness, this second set is more mixed in both tone and quality.\u003c/p>\u003cp>The songs that don’t work so well tend to be those attempting to divine some underlying beauty in the originals. Unforunately, once you strip away the spirit and multipart harmonies, most of the songs are revealed to be fairly thin source material. The worst end up sounding like nursery rhymes, with a rather dull, childlike simplicity. The best interpretations, on the other hand, retain the fire and brimstone of the originals, for example the pounding guitar and harmonica on “Weeping Pilgrim 417” by Elvis Perkins in Dearland, or the caterwauling singing style of Mac Powell’s “Help Me to Sing 376” and “The Traveler 108b” by Cordelia’s Dad.\u003c/p>\u003cp>Overall, the hit to miss ratio is about even and, with 20 tracks in total, that means a good amount of bang for your buck. But the real value lies with the 24 original songs on the first disc. Even if you’ve never raised your own voice in praise of the big guy upstairs, or even believe he exists, this music is something to be thankful for. Amen.\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Awake, My Soul: The Original Soundtrack / Help Me To Sing: Songs of the Sacred Harp\u003c/b> and the DVD \u003cb>Awake, My Soul: The Story of the Sacrad Harp\u003c/b> are both out now, via Awake Productions.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>Devotional music has a pretty bad rep among nonbelieving sections of the listening public. It’s easy to understand why if you have ever endured one of those interminable ads for mail-order-only collections of bland Christian rock on TV. Despite the existence of such unholy dross in this world (but hopefully not the next), there remains a rich seam of music inspired by the almighty that can stir the heart of even the most godless listener; it just doesn’t tend to be advertised on daytime cable.\u003c/p>\u003cp>The full-blooded harmonies of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1534280\" target=\"OFFSITE\">Sacred Harp\u003c/a> singing is an ideal example. Few people have heard of this uniquely American choral tradition outside of the few Southern backwaters where it was born in the early 1800s. For two centures, small congregations have gathered for communal recitals known simply as a “singing.” But these are no ordinary church choirs. The music is rebellious in its disregard for musical convention, punk in its inclusivity, and powerful in a way that only music performed with true passion can be, regardless of what may have inspired it.\u003c/p>\u003cp>The first important thing you need to know about Sacred Harp music is there aren’t any harps involved. Sung without accompaniment, the name instead refers to the voice, our “god-given” instrument. There is no audience either, only participants. Individuals take turns to lead the group in a song, standing in the center of a square of singers, who all sit facing the middle. Each side of the square takes a different vocal part: treble, alto, tenor, and bass.\u003c/p>\u003cp>The music is written using a unique system of notation, with four notes (fa, sol, la, mi) represented by four shapes to make it easier to read (which gives rise to the tradition’s other name: shape-note music). These four notes, repeated to form the octave, are sung by name through the first verse of each song, before more conventional lyrics take over. That first run-through of nonsensical syllables evokes both the idea of singing in tongues, and the doo-doo-doo style harmonies of rock bands such as the Beach Boys (although a closer reference here might be the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1132233\" target=\"OFFSITE\">Langley Music Project\u003c/a>‘s Beach Boys cover versions).\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like much of the world’s best music, Sacred Harp is performed at full volume throughout. As participation is mandatory, some of the singers are not the most accomplished vocalists, but the lack of skill in some is more than compensated for by the spirit and enthusiasm of all. Underneath the complex, repeating harmonies, the music is driven on by a stomping rhythm that never seems to let up.\u003c/p>\u003cp>The story of The Sacred Harp can be traced back to the traditions of the earliest puritan pilgrims, whose austere beliefs didn’t (as many people may think) extend to banning music completely. However, instruments were seen as an unneccesary indulgence, as was the idea of singing anything other than the Psalms, or anywhere outside of church.\u003c/p>\u003cp>Hence an a cappella tradition was born that spread as these early immigrants swelled in number and moved south. The tunes developed in style, becoming quite different from the English hymns they had started out as. Relatively untrained musicians added new compositions to the canon with little regard to European conventions and rules. Indeed, the story provides an interesting argument against the widely accepted idea that jazz is modern America’s first indigenous musical form.\u003c/p>\u003cp>These unconventional songs grew in number and popularity. In 1844, Benjamin Franklin White and Elisha J. King put together a collection of more than 250 popular and original songs, called \u003ci>The Sacred Harp\u003c/i>. This book has served as the tradition’s other bible ever since, its revisions and changes reflecting the schisms and evolution of the musical movement itself.\u003c/p>\u003cp>This story is told in the movie documentary \u003ca href=\"http://awakemysoul.com/\" target=\"OFFSITE\">Awake, My Soul\u003c/a>, which in turn has given birth to a soundtrack CD of the same name, featuring performances by contemporary choirs who are helping to keep the tradition alive. Each song begins the same way: with a wave of voices rising together with irrepressible vigor. Even the odd bum notes songs are sung with such unbridled enthusiasm that you begin to wonder if the mistake might be yours rather than theirs. The rough edges are part of the pleasure; one track, “Restoration 312b,” even features a child crying in the background. The whole thing is wonderfully, strangely real.\u003c/p>\u003cp>And now, to accompany a new DVD release of the film, a second CD has been added: \u003ca href=\"http://www.myspace.com/helpmetosing\" target=\"OFFSITE\">Help Me To Sing\u003c/a> features modern musicians performing their own versions of the songs of the Sacred Harp. While the authentic versions are relentless in their intensity and forcefulness, this second set is more mixed in both tone and quality.\u003c/p>\u003cp>The songs that don’t work so well tend to be those attempting to divine some underlying beauty in the originals. Unforunately, once you strip away the spirit and multipart harmonies, most of the songs are revealed to be fairly thin source material. The worst end up sounding like nursery rhymes, with a rather dull, childlike simplicity. The best interpretations, on the other hand, retain the fire and brimstone of the originals, for example the pounding guitar and harmonica on “Weeping Pilgrim 417” by Elvis Perkins in Dearland, or the caterwauling singing style of Mac Powell’s “Help Me to Sing 376” and “The Traveler 108b” by Cordelia’s Dad.\u003c/p>\u003cp>Overall, the hit to miss ratio is about even and, with 20 tracks in total, that means a good amount of bang for your buck. But the real value lies with the 24 original songs on the first disc. Even if you’ve never raised your own voice in praise of the big guy upstairs, or even believe he exists, this music is something to be thankful for. Amen.\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Awake, My Soul: The Original Soundtrack / Help Me To Sing: Songs of the Sacred Harp\u003c/b> and the DVD \u003cb>Awake, My Soul: The Story of the Sacrad Harp\u003c/b> are both out now, via Awake Productions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been over forty years since bands like the Grateful Dead, Jefferson Airplane, and Quicksilver Messenger Service fused psychedelic elements into folk, blues, and rock and roll, creating the “San Francisco Sound” that many still consider the signature identity of Bay Area music. Given that movement’s lasting impact on rock music, it probably shouldn’t be a surprise that there’s a fertile psych rock underground percolating in the Bay today. Some of the scene’s many upstarts come together this weekend for a smorgasbord of psych rock called the \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">Frisco Freakout\u003c/a>. It’s happening this Saturday at The Parkside in Potrero Hill.\u003c/p>\n\u003cp>Billed as a “Psychedelic Dance Party,” the first annual day and night event features ten psych-inclined bands along with DJs and visuals, and it captures a great sampling of experimental progressive acts under one roof. True to the umbrella nature of psych rock, the sounds range from acoustic folk to heavy rock, with quite a few potential highlights, like San Francisco quartet \u003ca href=\"http://www.myspace.com/woodenshjips\" target=\"offsite\" rel=\"noopener\">Wooden Shjips\u003c/a>. The band’s loose stripped-down grooves have won broad critical acclaim and earned them performances at high profile festivals like last month’s All Tomorrow’s Parties curated by My Bloody Valentine. There’s an impressive minimalism at work on 2007’s \u003cstrong>Wooden Shjips\u003c/strong>, utilizing repetitive phrases and trippy echo-saturated vocals to create melodic spiraling jams.\u003c/p>\n\u003cp>Local singer-songwriter \u003ca href=\"http://www.myspace.com/medicinefuckdream\" target=\"offsite\" rel=\"noopener\">Greg Ashley\u003c/a>, long one of my favorites, also performs. Ashley might best be known for his psych rock band \u003ca href=\"http://www.myspace.com/thegrisgris\" target=\"offsite\" rel=\"noopener\">The Gris Gris\u003c/a>, but he’s also an accomplished solo artist. \u003cstrong>Painted Garden\u003c/strong>, his latest release on \u003ca href=\"http://www.birdmanrecords.com\" target=\"offsite\" rel=\"noopener\">Birdman Records\u003c/a>, is a lush album of layered pastiche folk-rock. The musician’s also using his sound-crafting expertise as a popular producer for local bands. Ashley’s solo acoustic performances tend to underscore his songs’ warm melodies and intrinsic vulnerability, so his set should be a nice break between heavier acts.\u003c/p>\n\u003cp>The party’s not all Bay Area groups, however, with two of its most popular bands being \u003ca href=\"http://www.myspace.com/crystalantlers\" target=\"offsite\" rel=\"noopener\">Crystal Antlers\u003c/a>, hailing from Long Beach, and \u003ca href=\"http://www.myspace.com/earthless\" target=\"offsite\" rel=\"noopener\">Earthless\u003c/a>, from San Diego. The former recently rereleased their debut \u003cstrong>EP\u003c/strong> on Touch and Go, and it’s a great first impression from this garage-influenced five-piece, packed with raw rock blasts. Earthless close the Freakout with their ornate stoner rock. The band cites an eclectic mix of German and Japanese heavy bands as inspiration for their spacey, winding compositions.\u003c/p>\n\u003cp>Also performing at the Frisco Freakout are \u003ca href=\"http://www.myspace.com/theebadtrips\" target=\"offsite\" rel=\"noopener\">The Bad Trips\u003c/a> (Ventura), \u003ca href=\"http://www.myspace.com/theassembleheadinsunburstsound\" target=\"offsite\" rel=\"noopener\">Assemble Head in Sunburst Sound\u003c/a>, \u003ca href=\"http://www.myspace.com/ascendedmaster\" target=\"offsite\" rel=\"noopener\">Ascended Master\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\" target=\"offsite\" rel=\"noopener\">Sleepy Sun\u003c/a>, \u003ca href=\"http://www.myspace.com/mythicalbeast\" target=\"offsite\" rel=\"noopener\">Mythical Beast\u003c/a> (Kansas City), \u003ca href=\"http://www.myspace.com/sequintrails\" target=\"offsite\" rel=\"noopener\">Sequin Trails\u003c/a>, and \u003ca href=\"http://www.myspace.com/artlessing\" target=\"offsite\" rel=\"noopener\">Art Lessing and the Flower Vato\u003c/a>. If that’s not enough to tempt you, proceeds from the event will benefit \u003ca href=\"http://www.creativityexplored.org/\" target=\"offsite\" rel=\"noopener\">Creativity Explored\u003c/a>, a San Francisco nonprofit visual arts center that enables artists with developmental disabilities to create, exhibit, and sell their art. It’s definitely a worthy cause for what should be a rich day and night of forward-thinking music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show starts at 2pm, $15, and is all ages. The full schedule of set times and some music can be found at \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">FriscoFreakout.com\u003c/a>. Tickets can be purchased at \u003ca href=\"https://holdmyticket.com/mini/mini.php?id=1813\" target=\"offsite\" rel=\"noopener\">HoldMyTicket.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been over forty years since bands like the Grateful Dead, Jefferson Airplane, and Quicksilver Messenger Service fused psychedelic elements into folk, blues, and rock and roll, creating the “San Francisco Sound” that many still consider the signature identity of Bay Area music. Given that movement’s lasting impact on rock music, it probably shouldn’t be a surprise that there’s a fertile psych rock underground percolating in the Bay today. Some of the scene’s many upstarts come together this weekend for a smorgasbord of psych rock called the \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">Frisco Freakout\u003c/a>. It’s happening this Saturday at The Parkside in Potrero Hill.\u003c/p>\n\u003cp>Billed as a “Psychedelic Dance Party,” the first annual day and night event features ten psych-inclined bands along with DJs and visuals, and it captures a great sampling of experimental progressive acts under one roof. True to the umbrella nature of psych rock, the sounds range from acoustic folk to heavy rock, with quite a few potential highlights, like San Francisco quartet \u003ca href=\"http://www.myspace.com/woodenshjips\" target=\"offsite\" rel=\"noopener\">Wooden Shjips\u003c/a>. The band’s loose stripped-down grooves have won broad critical acclaim and earned them performances at high profile festivals like last month’s All Tomorrow’s Parties curated by My Bloody Valentine. There’s an impressive minimalism at work on 2007’s \u003cstrong>Wooden Shjips\u003c/strong>, utilizing repetitive phrases and trippy echo-saturated vocals to create melodic spiraling jams.\u003c/p>\n\u003cp>Local singer-songwriter \u003ca href=\"http://www.myspace.com/medicinefuckdream\" target=\"offsite\" rel=\"noopener\">Greg Ashley\u003c/a>, long one of my favorites, also performs. Ashley might best be known for his psych rock band \u003ca href=\"http://www.myspace.com/thegrisgris\" target=\"offsite\" rel=\"noopener\">The Gris Gris\u003c/a>, but he’s also an accomplished solo artist. \u003cstrong>Painted Garden\u003c/strong>, his latest release on \u003ca href=\"http://www.birdmanrecords.com\" target=\"offsite\" rel=\"noopener\">Birdman Records\u003c/a>, is a lush album of layered pastiche folk-rock. The musician’s also using his sound-crafting expertise as a popular producer for local bands. Ashley’s solo acoustic performances tend to underscore his songs’ warm melodies and intrinsic vulnerability, so his set should be a nice break between heavier acts.\u003c/p>\n\u003cp>The party’s not all Bay Area groups, however, with two of its most popular bands being \u003ca href=\"http://www.myspace.com/crystalantlers\" target=\"offsite\" rel=\"noopener\">Crystal Antlers\u003c/a>, hailing from Long Beach, and \u003ca href=\"http://www.myspace.com/earthless\" target=\"offsite\" rel=\"noopener\">Earthless\u003c/a>, from San Diego. The former recently rereleased their debut \u003cstrong>EP\u003c/strong> on Touch and Go, and it’s a great first impression from this garage-influenced five-piece, packed with raw rock blasts. Earthless close the Freakout with their ornate stoner rock. The band cites an eclectic mix of German and Japanese heavy bands as inspiration for their spacey, winding compositions.\u003c/p>\n\u003cp>Also performing at the Frisco Freakout are \u003ca href=\"http://www.myspace.com/theebadtrips\" target=\"offsite\" rel=\"noopener\">The Bad Trips\u003c/a> (Ventura), \u003ca href=\"http://www.myspace.com/theassembleheadinsunburstsound\" target=\"offsite\" rel=\"noopener\">Assemble Head in Sunburst Sound\u003c/a>, \u003ca href=\"http://www.myspace.com/ascendedmaster\" target=\"offsite\" rel=\"noopener\">Ascended Master\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\" target=\"offsite\" rel=\"noopener\">Sleepy Sun\u003c/a>, \u003ca href=\"http://www.myspace.com/mythicalbeast\" target=\"offsite\" rel=\"noopener\">Mythical Beast\u003c/a> (Kansas City), \u003ca href=\"http://www.myspace.com/sequintrails\" target=\"offsite\" rel=\"noopener\">Sequin Trails\u003c/a>, and \u003ca href=\"http://www.myspace.com/artlessing\" target=\"offsite\" rel=\"noopener\">Art Lessing and the Flower Vato\u003c/a>. If that’s not enough to tempt you, proceeds from the event will benefit \u003ca href=\"http://www.creativityexplored.org/\" target=\"offsite\" rel=\"noopener\">Creativity Explored\u003c/a>, a San Francisco nonprofit visual arts center that enables artists with developmental disabilities to create, exhibit, and sell their art. It’s definitely a worthy cause for what should be a rich day and night of forward-thinking music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show starts at 2pm, $15, and is all ages. The full schedule of set times and some music can be found at \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">FriscoFreakout.com\u003c/a>. Tickets can be purchased at \u003ca href=\"https://holdmyticket.com/mini/mini.php?id=1813\" target=\"offsite\" rel=\"noopener\">HoldMyTicket.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Bluegrass Festival",
"headTitle": "Hardly Strictly Bluegrass Festival | KQED",
"content": "\u003cp>It’s the first weekend in October, which means it’s time for everyone’s favorite investment banker, Warren Hellman, to unwrap his annual auditory gift to the city of San Francisco known as \u003cb>Hardly Strictly Bluegrass.\u003c/b> As it has since 2001, when less than a dozen acts were on the bill, this year’s free festival takes place at Speedway Meadow in Golden Gate Park. \u003cb>Emmylou Harris, Alison Krauss\u003c/b>, and \u003cb>Jerry Douglas\u003c/b> were all there that first year, and they have returned for the 2008 extravaganza, along with another 70 or so groups performing from Friday October 3 to Sunday October 5.\u003c/p>\n\u003cp>Once again the problem for the tens of thousands of music fans who make their way to the show (besides parking, that is, which is why public transportation and bicycles are encouraged) will be to figure out what to see, since incredible music happens simultaneously on five stages.\u003c/p>\n\u003cp>The exception to this conundrum is the lineup on Friday morning, when HSB kicks things off at 10:30 with a pair of short sets by fiddle whiz kid \u003cb>Ruby Jane\u003c/b> and rapper \u003cb>MC Hammer\u003c/b>, a pairing that would have impressed even the great Bill Graham. Later in the afternoon at 2:30, singer \u003cb>Sharon Little\u003c/b>, who has been on tour with Grammy winners \u003cb>Robert Plant\u003c/b> and \u003cb>Alison Krauss\u003c/b>, will take the Banjo Stage to warm up the crowd for former Krauss bandmate \u003cb>Jerry Douglas\u003c/b> at 3:35. Backed by his own band, Douglas will work his lapsteel magic before Plant (who this week said that no, he would not be reuniting with \u003cb>Led Zeppelin\u003c/b> any time soon because he’s having a perfectly fine time touring in support of \u003cb>Raising Sand\u003c/b>, thank you very much) and Krauss join forces with producer/musician \u003cb>T Bone Burnett\u003c/b> at 5:15.\u003c/p>\n\u003cp>Saturday is a bit trickier. Normally I’d suggest starting the day at 11 with old-timey HSB favorites \u003cb>Dry Branch Fire Squad\u003c/b> on the Star Stage, but \u003cb>Jimmie Dale Gilmore\u003c/b> is playing at the same time on Banjo, so the guy from Lubbock is probably going to win that hand. Fiddler \u003cb>Laurie Lewis\u003c/b> follows Gilmore at 11:55, while fellow fiddler \u003cb>Samantha Robichaud\u003c/b> plays the Porch at 12:35, but if you are ready to get a little crazy it’s the \u003cb>Waco Brothers\u003c/b> you want at Star. You’re probably going to end up over there anyhow because \u003cb>Richard Thompson\u003c/b> comes on at 1:30. After that it’s a quick walk over to Rooster for \u003cb>Nick Lowe\u003c/b> at 2:45, followed by one of the best bands of any genre to come out of Colorado, \u003cb>Hot Rize\u003c/b>, who play at 3:25 at Banjo. I suspect many people will camp out there for the rest of the day to hear the legendary \u003cb>Odetta\u003c/b> at 4:40, followed by alt-country hero \u003cb>Steve Earle\u003c/b> at 6:00. But that means missing \u003cb>Asleep At The Wheel\u003c/b> at 5:20 at the Arrow Stage and \u003cb>Global Drum Project\u003c/b> at about the same time at Star. Decisions decisions…\u003c/p>\n\u003cp>Sunday is even worse, or better, depending on how you look at these things. Gotta catch Telecaster king \u003cb>Bill Kirchen\u003c/b> at 11:00 at Star (I can’t remember how many times I saw this guy with \u003cb>Commander Cody\u003c/b> back in the day), and ditto \u003cb>Moonalice\u003c/b> at noon at Arrow (having Barry Sless and Pete Sears on the same stage is always a treat). After that, you’d be forgiven if you just decided to stay put in front of Banjo for the rest of the day to enjoy the Man of Constant Sorrow himself, \u003cb>Ralph Stanley\u003c/b> at 1:45, banjo pioneer \u003cb>Earl Scruggs\u003c/b> at 2:55, mandolin maven \u003cb>Ricky Skaggs\u003c/b> at 4:15, and the great \u003cb>Emmylou Harris\u003c/b> at 5:45. You’d be forgiven, but you might not forgive yourself for missing the action at Arrow, which includes newgrass comers \u003cb>The Waybacks\u003c/b> at 3:20, sweet-voiced \u003cb>Pegi Young\u003c/b> at 4:30, and jammers \u003cb>Tea Leaf Green\u003c/b> at 5:50. Oh, and you’d also fail to see singer-songwriter-bard \u003cb>Loudon Wainwright III\u003c/b> at 4:40 at Rooster or \u003cb>Elvis\u003c/b> freakin’ \u003cb>Costello\u003c/b> at 2:30 at Star, followed on the same stage by gypsy punk-rock sensations \u003cb>Gogol Bordello\u003c/b> at 4:15, who are not only not strictly bluegrass, but probably aren’t even hardly strictly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I may have to miss \u003cb>Gogol Bordello,\u003c/b> but only because I’ll be seeing them later that night at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a>, where they will play a benefit for a website that helps out old dogs. I don’t believe Warren Hellman is involved with that yet, but by the end of this weekend, anything is possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b> takes place October 3-5, 2008 at Speedway Meadow in Golden Gate Park. For \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit hardlystrictlybluegrass.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the first weekend in October, which means it’s time for everyone’s favorite investment banker, Warren Hellman, to unwrap his annual auditory gift to the city of San Francisco known as \u003cb>Hardly Strictly Bluegrass.\u003c/b> As it has since 2001, when less than a dozen acts were on the bill, this year’s free festival takes place at Speedway Meadow in Golden Gate Park. \u003cb>Emmylou Harris, Alison Krauss\u003c/b>, and \u003cb>Jerry Douglas\u003c/b> were all there that first year, and they have returned for the 2008 extravaganza, along with another 70 or so groups performing from Friday October 3 to Sunday October 5.\u003c/p>\n\u003cp>Once again the problem for the tens of thousands of music fans who make their way to the show (besides parking, that is, which is why public transportation and bicycles are encouraged) will be to figure out what to see, since incredible music happens simultaneously on five stages.\u003c/p>\n\u003cp>The exception to this conundrum is the lineup on Friday morning, when HSB kicks things off at 10:30 with a pair of short sets by fiddle whiz kid \u003cb>Ruby Jane\u003c/b> and rapper \u003cb>MC Hammer\u003c/b>, a pairing that would have impressed even the great Bill Graham. Later in the afternoon at 2:30, singer \u003cb>Sharon Little\u003c/b>, who has been on tour with Grammy winners \u003cb>Robert Plant\u003c/b> and \u003cb>Alison Krauss\u003c/b>, will take the Banjo Stage to warm up the crowd for former Krauss bandmate \u003cb>Jerry Douglas\u003c/b> at 3:35. Backed by his own band, Douglas will work his lapsteel magic before Plant (who this week said that no, he would not be reuniting with \u003cb>Led Zeppelin\u003c/b> any time soon because he’s having a perfectly fine time touring in support of \u003cb>Raising Sand\u003c/b>, thank you very much) and Krauss join forces with producer/musician \u003cb>T Bone Burnett\u003c/b> at 5:15.\u003c/p>\n\u003cp>Saturday is a bit trickier. Normally I’d suggest starting the day at 11 with old-timey HSB favorites \u003cb>Dry Branch Fire Squad\u003c/b> on the Star Stage, but \u003cb>Jimmie Dale Gilmore\u003c/b> is playing at the same time on Banjo, so the guy from Lubbock is probably going to win that hand. Fiddler \u003cb>Laurie Lewis\u003c/b> follows Gilmore at 11:55, while fellow fiddler \u003cb>Samantha Robichaud\u003c/b> plays the Porch at 12:35, but if you are ready to get a little crazy it’s the \u003cb>Waco Brothers\u003c/b> you want at Star. You’re probably going to end up over there anyhow because \u003cb>Richard Thompson\u003c/b> comes on at 1:30. After that it’s a quick walk over to Rooster for \u003cb>Nick Lowe\u003c/b> at 2:45, followed by one of the best bands of any genre to come out of Colorado, \u003cb>Hot Rize\u003c/b>, who play at 3:25 at Banjo. I suspect many people will camp out there for the rest of the day to hear the legendary \u003cb>Odetta\u003c/b> at 4:40, followed by alt-country hero \u003cb>Steve Earle\u003c/b> at 6:00. But that means missing \u003cb>Asleep At The Wheel\u003c/b> at 5:20 at the Arrow Stage and \u003cb>Global Drum Project\u003c/b> at about the same time at Star. Decisions decisions…\u003c/p>\n\u003cp>Sunday is even worse, or better, depending on how you look at these things. Gotta catch Telecaster king \u003cb>Bill Kirchen\u003c/b> at 11:00 at Star (I can’t remember how many times I saw this guy with \u003cb>Commander Cody\u003c/b> back in the day), and ditto \u003cb>Moonalice\u003c/b> at noon at Arrow (having Barry Sless and Pete Sears on the same stage is always a treat). After that, you’d be forgiven if you just decided to stay put in front of Banjo for the rest of the day to enjoy the Man of Constant Sorrow himself, \u003cb>Ralph Stanley\u003c/b> at 1:45, banjo pioneer \u003cb>Earl Scruggs\u003c/b> at 2:55, mandolin maven \u003cb>Ricky Skaggs\u003c/b> at 4:15, and the great \u003cb>Emmylou Harris\u003c/b> at 5:45. You’d be forgiven, but you might not forgive yourself for missing the action at Arrow, which includes newgrass comers \u003cb>The Waybacks\u003c/b> at 3:20, sweet-voiced \u003cb>Pegi Young\u003c/b> at 4:30, and jammers \u003cb>Tea Leaf Green\u003c/b> at 5:50. Oh, and you’d also fail to see singer-songwriter-bard \u003cb>Loudon Wainwright III\u003c/b> at 4:40 at Rooster or \u003cb>Elvis\u003c/b> freakin’ \u003cb>Costello\u003c/b> at 2:30 at Star, followed on the same stage by gypsy punk-rock sensations \u003cb>Gogol Bordello\u003c/b> at 4:15, who are not only not strictly bluegrass, but probably aren’t even hardly strictly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I may have to miss \u003cb>Gogol Bordello,\u003c/b> but only because I’ll be seeing them later that night at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a>, where they will play a benefit for a website that helps out old dogs. I don’t believe Warren Hellman is involved with that yet, but by the end of this weekend, anything is possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b> takes place October 3-5, 2008 at Speedway Meadow in Golden Gate Park. For \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit hardlystrictlybluegrass.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Stoppard's Rock 'n' Roll",
"headTitle": "Tom Stoppard’s Rock ‘n’ Roll | KQED",
"content": "\u003cp>With a running time of three hours including intermission, Tom Stoppard’s \u003cb>Rock ‘n’ Roll,\u003c/b> is as much of an endurance test as a Grateful Dead concert, albeit without the painfully late start and interminable set break.\u003c/p>\n\u003cp>Directed by A.C.T.’s artistic director, Carey Perloff, Stoppard’s characteristically funny and intelligent play is an exceedingly dense affair, even for him. It requires the audience to be steeped in the personalities and palace intrigues of Czechoslovakian politics between the years 1968 and 1990; to appreciate the creative genius of Syd Barrett, the pre-\u003cb>Dark Side of the Moon\u003c/b> founder of Pink Floyd; to know their way around the finer points of communism, both as conceived by Karl Marx and ruthlessly manipulated by Joseph Stalin; and to revel in the nuances of translation and meaning to be found in the ancient poems of Sappho. Did I mention that \u003cb>Rock ‘n’ Roll\u003c/b> is also a sentimental love story? Consider it mentioned.\u003c/p>\n\u003cp>It’s not that the play’s length and arcane subject matter is off-putting or exhausting. Far from it. The weaving together of so much political history, Greek poetry, and Stoppardian fiction — with a terrific soundtrack that careens from scruffy Rolling Stones to saccharine Beach Boys, early Syd Barrett to late Pink Floyd, mournful Velvet Underground to exuberantly sonic Plastic People of the Universe — is invigorating. After seeing the performance on opening night, I have been thinking about little else, and not just because I am obliged to type my meager observations into a computer. This is a play that stays with you, powerful despite its numerous faults.\u003c/p>\n\u003cp>Stoppard’s fictional story begins in Cambridge in 1968. Real Russian tanks have just rolled through the streets of Prague, prompting a young Czech student named Jan (Manoel Felciano) to inform his Cambridge professor and mentor, an old-school Commie named Max (Jack Willis), that he is returning home. Max, who is defensive about the Red fist that has come out of the east to crush the Prague Spring, is furious with his protégé for failing to complete his studies.\u003c/p>\n\u003cp>Or, at least, that’s what I think Max is angry about. Throughout the play, Max’s actions often come off as irrational, as if this man who claims to have only a biological machine between his ears, rather than a mind, might lack either. Only later, when we realize that Max has lots of desires but possibly not a heart, do we surmise the cause of Max’s seemingly random actions. I’m certain that I have not known as many Communist Cambridge professors as Stoppard has, but making Max a heartless blowhard who values the hive over the bees strikes me as an overwrought bit of stereotyping.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Equally suspicious is Stoppard’s decision to kill off Max’s wife, Eleanor (René Augesen), who you know won’t make it to the second act the moment she reveals her breast cancer early in the first. A renowned authority on Sappho, her awestruck female students timidly creep into her home for one-on-one (purely Platonic) lessons. Eleanor struck me as a far more intelligent and clear-eyed creation than poor idealistic Max, so I felt somewhat cheated not to get her perspective on the play’s events as they unfolded. Why do away with her? Keeping both her and Max alive would have made this long play even longer, but from where I sat, Stoppard got rid of the wrong character.\u003c/p>\n\u003cp>Max and Eleanor’s daughter, Esme (played as a young girl by Summer Serafin), who opens the play writhing on a table while smoking a joint, would like to give her father’s favorite pupil a parting gift — her virginity. Jan is clearly infatuated with this hippie vision of sweet-sixteen. But despite his relative youth, Jan is an old-world gentleman. So, he plucks one of Esme’s cherry LPs to add to his collection of Western auditory decadence and heads home.\u003c/p>\n\u003cp>Ostensibly he is going to Czechoslovakia to look in on his mom, but his real motives are not entirely clear. Even the interrogator (Anthony Fusco), who gives him a good Orwellian grilling at customs, can’t understand why he wants to return to Czechoslovakia when all the other intellectuals in the country have chosen to flee. The answer is that Jan must suffer to give Stoppard’s story its arc. As artificial as that may sound, at least the playwright does not have to make up what comes next, since he has just hurled this confused young man, whose sensibility is Eastern but whose musical tastes look to the West, into the real events of Russian-occupied Czechoslovakia.\u003c/p>\n\u003cp>When we meet Jan, he’s a familiar, almost familial, guest at Max and Eleanor’s bourgeois Cambridge home, where the hyper-educated dine outdoors on a brick patio amid trellises and greenery. Jan’s flat in Prague is a far cry from that. His meagre journalist’s salary affords him an apartment that has the messy ambience of a student’s crash pad, only more run down. Sure, Jan dotes on his records and hi-fi (he is forever checking his precious collection of vinyl to make sure it is all in order and accounted for), but he cares so little for his furnishings that he repairs the broken foot of a beat-up couch with a stack of books. For Jan, literature is a cheaper commodity than furniture.\u003c/p>\n\u003cp>This business of what Jan really cares about, indeed, what any of the characters really care about, is, I think, a key to the play, more even than the question of whether we are just collections of atoms or ethereal beings possessing unquantifiable souls. Having left Esme, who he never got the chance to properly care about or for, Jan is now on autopilot — a stranger in a strange land — doing what he must to get along.\u003c/p>\n\u003cp>Out of a sense of self-preservation more than ideology, Jan wants to believe the state propaganda that everything is okay, but he also wants to listen to his music and be left alone. That, it turns out, is a more radical proposition than any of the causes that his friend Ferdinand (Jud Williford) would like for him to take up. Jan derides Ferdinand’s endless protests as “moral exhibitionism.” It’s only when the police beat up fans of his favorite band, The Plastic People of the Universe, that Jan gets politically engaged enough to thrust a petition in Ferdinand’s face. Jan idolizes the Plastics precisely because they stand for nothing. They are the real agents of change, he says, because they are safe from the desire for recognition. As for the kids who were beat up by the police, they deserve support because, unlike traditional dissidents, who hurl Molotov cocktails and words alike at their oppressors, they had not asked for the fight.\u003c/p>\n\u003cp>One of the payoffs of \u003cb>Rock ‘n’ Roll\u003c/b>‘s length is that we get a chance to hang out with Jan and Ferdinand long enough to watch their relationship evolve. These men, Felciano and Williford convince us, are good friends, for all their differences. Augesen and Serafin also make the most of the play’s deliberate pace. In the first act, Augesen plays Eleanor and Serafin plays her daughter, Esme. In the second act, Augesen takes over the role of the adult Esme while Serafin plays Esme’s teenage daughter, Alice. Reading the program before the curtain went up, as \u003cb>It’s Only Rock and Roll\u003c/b> blared into the upper reaches of the Geary Theater, I wondered if these two could pull it off. But Serafin convinces us that she is two very different women — Esme, a dreamer who is more interested in the mantra “make love not war” than her father’s “the workers shall own the means of production,” and Alice, whose possession of her grandparents’ school-smarts gene has gotten her into Cambridge a full year early.\u003c/p>\n\u003cp>As for Augesen, she is a revelation. I loved her as Eleanor in the first act — from her flashes of anger to the way she would regain her poise to the patience she showed her childish and naïve husband. But as the adult Esme, struggling to fit into a world filled with people, her daughter included, who will always be light years smarter than she could ever dream, her anxieties creep out quietly, revealing themselves in the littlest things. This is a wonderful, smart performance; I could not take my eyes off of her.\u003c/p>\n\u003cp>If there is one unforgivably sour note to this production it is the set, which takes its inspiration from a photograph of a view up the light well in a Prague apartment building. Like the building’s walls in the photograph, the walls in the set rise away from us, upstage in forced perspective, so that windows and masonry flank either side of the stage, the ceiling above it, and the stage itself. The effect is rather like standing in an M.C. Escher etching, adding a layer of surrealism that is, I would suggest, entirely at odds with Stoppard’s play. We expect playwrights to be indulgent enough to occasionally undermine their own work, but it makes us squirm when a theater company appears to take similar liberties in the name, presumably, of its need for self expression. Max and Eleanor would not have been pleased.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Rock ‘n’ Roll\u003c/b> runs through October 18, 2008 at A.C.T. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit act-sf.org.\u003c/p>\n\n",
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"excerpt": "With a running time of three hours including intermission, Tom Stoppard's \u003cb>Rock 'n' Roll,\u003c/b> is as much of an endurance test as a Grateful Dead concert, albeit without the painfully late start and interminable set break.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With a running time of three hours including intermission, Tom Stoppard’s \u003cb>Rock ‘n’ Roll,\u003c/b> is as much of an endurance test as a Grateful Dead concert, albeit without the painfully late start and interminable set break.\u003c/p>\n\u003cp>Directed by A.C.T.’s artistic director, Carey Perloff, Stoppard’s characteristically funny and intelligent play is an exceedingly dense affair, even for him. It requires the audience to be steeped in the personalities and palace intrigues of Czechoslovakian politics between the years 1968 and 1990; to appreciate the creative genius of Syd Barrett, the pre-\u003cb>Dark Side of the Moon\u003c/b> founder of Pink Floyd; to know their way around the finer points of communism, both as conceived by Karl Marx and ruthlessly manipulated by Joseph Stalin; and to revel in the nuances of translation and meaning to be found in the ancient poems of Sappho. Did I mention that \u003cb>Rock ‘n’ Roll\u003c/b> is also a sentimental love story? Consider it mentioned.\u003c/p>\n\u003cp>It’s not that the play’s length and arcane subject matter is off-putting or exhausting. Far from it. The weaving together of so much political history, Greek poetry, and Stoppardian fiction — with a terrific soundtrack that careens from scruffy Rolling Stones to saccharine Beach Boys, early Syd Barrett to late Pink Floyd, mournful Velvet Underground to exuberantly sonic Plastic People of the Universe — is invigorating. After seeing the performance on opening night, I have been thinking about little else, and not just because I am obliged to type my meager observations into a computer. This is a play that stays with you, powerful despite its numerous faults.\u003c/p>\n\u003cp>Stoppard’s fictional story begins in Cambridge in 1968. Real Russian tanks have just rolled through the streets of Prague, prompting a young Czech student named Jan (Manoel Felciano) to inform his Cambridge professor and mentor, an old-school Commie named Max (Jack Willis), that he is returning home. Max, who is defensive about the Red fist that has come out of the east to crush the Prague Spring, is furious with his protégé for failing to complete his studies.\u003c/p>\n\u003cp>Or, at least, that’s what I think Max is angry about. Throughout the play, Max’s actions often come off as irrational, as if this man who claims to have only a biological machine between his ears, rather than a mind, might lack either. Only later, when we realize that Max has lots of desires but possibly not a heart, do we surmise the cause of Max’s seemingly random actions. I’m certain that I have not known as many Communist Cambridge professors as Stoppard has, but making Max a heartless blowhard who values the hive over the bees strikes me as an overwrought bit of stereotyping.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Equally suspicious is Stoppard’s decision to kill off Max’s wife, Eleanor (René Augesen), who you know won’t make it to the second act the moment she reveals her breast cancer early in the first. A renowned authority on Sappho, her awestruck female students timidly creep into her home for one-on-one (purely Platonic) lessons. Eleanor struck me as a far more intelligent and clear-eyed creation than poor idealistic Max, so I felt somewhat cheated not to get her perspective on the play’s events as they unfolded. Why do away with her? Keeping both her and Max alive would have made this long play even longer, but from where I sat, Stoppard got rid of the wrong character.\u003c/p>\n\u003cp>Max and Eleanor’s daughter, Esme (played as a young girl by Summer Serafin), who opens the play writhing on a table while smoking a joint, would like to give her father’s favorite pupil a parting gift — her virginity. Jan is clearly infatuated with this hippie vision of sweet-sixteen. But despite his relative youth, Jan is an old-world gentleman. So, he plucks one of Esme’s cherry LPs to add to his collection of Western auditory decadence and heads home.\u003c/p>\n\u003cp>Ostensibly he is going to Czechoslovakia to look in on his mom, but his real motives are not entirely clear. Even the interrogator (Anthony Fusco), who gives him a good Orwellian grilling at customs, can’t understand why he wants to return to Czechoslovakia when all the other intellectuals in the country have chosen to flee. The answer is that Jan must suffer to give Stoppard’s story its arc. As artificial as that may sound, at least the playwright does not have to make up what comes next, since he has just hurled this confused young man, whose sensibility is Eastern but whose musical tastes look to the West, into the real events of Russian-occupied Czechoslovakia.\u003c/p>\n\u003cp>When we meet Jan, he’s a familiar, almost familial, guest at Max and Eleanor’s bourgeois Cambridge home, where the hyper-educated dine outdoors on a brick patio amid trellises and greenery. Jan’s flat in Prague is a far cry from that. His meagre journalist’s salary affords him an apartment that has the messy ambience of a student’s crash pad, only more run down. Sure, Jan dotes on his records and hi-fi (he is forever checking his precious collection of vinyl to make sure it is all in order and accounted for), but he cares so little for his furnishings that he repairs the broken foot of a beat-up couch with a stack of books. For Jan, literature is a cheaper commodity than furniture.\u003c/p>\n\u003cp>This business of what Jan really cares about, indeed, what any of the characters really care about, is, I think, a key to the play, more even than the question of whether we are just collections of atoms or ethereal beings possessing unquantifiable souls. Having left Esme, who he never got the chance to properly care about or for, Jan is now on autopilot — a stranger in a strange land — doing what he must to get along.\u003c/p>\n\u003cp>Out of a sense of self-preservation more than ideology, Jan wants to believe the state propaganda that everything is okay, but he also wants to listen to his music and be left alone. That, it turns out, is a more radical proposition than any of the causes that his friend Ferdinand (Jud Williford) would like for him to take up. Jan derides Ferdinand’s endless protests as “moral exhibitionism.” It’s only when the police beat up fans of his favorite band, The Plastic People of the Universe, that Jan gets politically engaged enough to thrust a petition in Ferdinand’s face. Jan idolizes the Plastics precisely because they stand for nothing. They are the real agents of change, he says, because they are safe from the desire for recognition. As for the kids who were beat up by the police, they deserve support because, unlike traditional dissidents, who hurl Molotov cocktails and words alike at their oppressors, they had not asked for the fight.\u003c/p>\n\u003cp>One of the payoffs of \u003cb>Rock ‘n’ Roll\u003c/b>‘s length is that we get a chance to hang out with Jan and Ferdinand long enough to watch their relationship evolve. These men, Felciano and Williford convince us, are good friends, for all their differences. Augesen and Serafin also make the most of the play’s deliberate pace. In the first act, Augesen plays Eleanor and Serafin plays her daughter, Esme. In the second act, Augesen takes over the role of the adult Esme while Serafin plays Esme’s teenage daughter, Alice. Reading the program before the curtain went up, as \u003cb>It’s Only Rock and Roll\u003c/b> blared into the upper reaches of the Geary Theater, I wondered if these two could pull it off. But Serafin convinces us that she is two very different women — Esme, a dreamer who is more interested in the mantra “make love not war” than her father’s “the workers shall own the means of production,” and Alice, whose possession of her grandparents’ school-smarts gene has gotten her into Cambridge a full year early.\u003c/p>\n\u003cp>As for Augesen, she is a revelation. I loved her as Eleanor in the first act — from her flashes of anger to the way she would regain her poise to the patience she showed her childish and naïve husband. But as the adult Esme, struggling to fit into a world filled with people, her daughter included, who will always be light years smarter than she could ever dream, her anxieties creep out quietly, revealing themselves in the littlest things. This is a wonderful, smart performance; I could not take my eyes off of her.\u003c/p>\n\u003cp>If there is one unforgivably sour note to this production it is the set, which takes its inspiration from a photograph of a view up the light well in a Prague apartment building. Like the building’s walls in the photograph, the walls in the set rise away from us, upstage in forced perspective, so that windows and masonry flank either side of the stage, the ceiling above it, and the stage itself. The effect is rather like standing in an M.C. Escher etching, adding a layer of surrealism that is, I would suggest, entirely at odds with Stoppard’s play. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Rock ‘n’ Roll\u003c/b> runs through October 18, 2008 at A.C.T. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit act-sf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Indie? Narco-Country?” That’s the question posed by Berkeley quartet Winter’s Fall on their web site, and it’s one that could be asked of a number of the bands dominating alternative music today. In recent years, groups like My Morning Jacket, Band of Horses and Fleet Foxes have emerged as the spiritual successors to Neil Young and his CSN brethren, mixing reverb-saturated vocals and twangy guitars into music that’s firmly rock-pop but with an introspective emotional core. From the moment you hear singer Peter Stanley’s voice, it’s apparent that Winter’s Fall draws from this same lineage, but the band’s first full length album, self-released earlier this year, features strong songwriting and a warm atmospheric feel that have it quickly becoming one of my favorite Bay Area records of the year.\u003c/p>\n\u003cp>Winter’s Fall was formed by Peter Stanley and childhood friend Keith Gidlund about two years ago, so it’s a little surprising how self-assured and fully realized the new CD sounds. The group’s 2007 \u003cb>Muddy & White\u003c/b> EP hinted at this talent, featuring some good songs hampered by production that obscured their pop charms. Thankfully, a bunch of those tracks were rerecorded for the self-titled new record, and they’re markedly improved by a clean sound that perfectly captures the band’s swooning layers.\u003c/p>\n\u003cp>A few of the band’s more driving rock songs, like the anthemic “Blame” and “Hillside,” kick off the CD, but the vocal harmonies, keyboards and slide guitar add an melodic pop beauty even when the group is at its most electric. There’s a mini-epic quality to songs like the big rock ballad “Paper Chains,” which transforms a lethargic groove into a crashing wave of rock and roll, and the band does build-and-decay awfully well. Album highlight “Unusual Ways” is a subtle, moving song reminiscent of the winding emotional work of Sunny Day Real Estate, and its moody keyboards and echoey guitars build to an energetic climax. As on the rest of the album, Stanley’s lyrics are indirect on the track, but his fragmentary images capture loneliness and heartbreak with a melancholy befitting his world-weary voice.\u003c/p>\n\u003cp>The album’s second half sees the band playing with their sound a bit, incorporating some great horns on “Muddy and White” and a surf rock-sounding electric guitar on “These Ivory Days.” If the first half’s vibe was more firmly country rock, the back end eclecticism is reminiscent of the ominverous approach of Calexico, and there’s a particularly Southwestern feel to the guitar lines and cowbell of “On Wisdom.” These later songs suggest that the quartet is able to mine more experimental territory, and it’s a definitely a direction worth continuing in. As it stands, the meticulously stacked layers and tight songwriting demonstrate a certain pop efficacy, but given a song like “Lonely You” and its hypnotically wandering trumpet and reversed guitar sounds, it’s tough not to want the band to really experiment with the outer reaches of their atmospheric approach. That’s a minor complaint, though, for a collection of songs this good.\u003c/p>\n\u003cp>On October 16th, the band will be performing at \u003ca href=\"http://www.myspace.com/31085262\">Galeís Central Club\u003c/a> in Petaluma, and on October 19th, they will be on \u003ca href=\"http://www.piratecatradio.com\">Pirate Cat Radio\u003c/a> at 8pm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Indie? Narco-Country?” That’s the question posed by Berkeley quartet Winter’s Fall on their web site, and it’s one that could be asked of a number of the bands dominating alternative music today. In recent years, groups like My Morning Jacket, Band of Horses and Fleet Foxes have emerged as the spiritual successors to Neil Young and his CSN brethren, mixing reverb-saturated vocals and twangy guitars into music that’s firmly rock-pop but with an introspective emotional core. From the moment you hear singer Peter Stanley’s voice, it’s apparent that Winter’s Fall draws from this same lineage, but the band’s first full length album, self-released earlier this year, features strong songwriting and a warm atmospheric feel that have it quickly becoming one of my favorite Bay Area records of the year.\u003c/p>\n\u003cp>Winter’s Fall was formed by Peter Stanley and childhood friend Keith Gidlund about two years ago, so it’s a little surprising how self-assured and fully realized the new CD sounds. The group’s 2007 \u003cb>Muddy & White\u003c/b> EP hinted at this talent, featuring some good songs hampered by production that obscured their pop charms. Thankfully, a bunch of those tracks were rerecorded for the self-titled new record, and they’re markedly improved by a clean sound that perfectly captures the band’s swooning layers.\u003c/p>\n\u003cp>A few of the band’s more driving rock songs, like the anthemic “Blame” and “Hillside,” kick off the CD, but the vocal harmonies, keyboards and slide guitar add an melodic pop beauty even when the group is at its most electric. There’s a mini-epic quality to songs like the big rock ballad “Paper Chains,” which transforms a lethargic groove into a crashing wave of rock and roll, and the band does build-and-decay awfully well. Album highlight “Unusual Ways” is a subtle, moving song reminiscent of the winding emotional work of Sunny Day Real Estate, and its moody keyboards and echoey guitars build to an energetic climax. As on the rest of the album, Stanley’s lyrics are indirect on the track, but his fragmentary images capture loneliness and heartbreak with a melancholy befitting his world-weary voice.\u003c/p>\n\u003cp>The album’s second half sees the band playing with their sound a bit, incorporating some great horns on “Muddy and White” and a surf rock-sounding electric guitar on “These Ivory Days.” If the first half’s vibe was more firmly country rock, the back end eclecticism is reminiscent of the ominverous approach of Calexico, and there’s a particularly Southwestern feel to the guitar lines and cowbell of “On Wisdom.” These later songs suggest that the quartet is able to mine more experimental territory, and it’s a definitely a direction worth continuing in. As it stands, the meticulously stacked layers and tight songwriting demonstrate a certain pop efficacy, but given a song like “Lonely You” and its hypnotically wandering trumpet and reversed guitar sounds, it’s tough not to want the band to really experiment with the outer reaches of their atmospheric approach. That’s a minor complaint, though, for a collection of songs this good.\u003c/p>\n\u003cp>On October 16th, the band will be performing at \u003ca href=\"http://www.myspace.com/31085262\">Galeís Central Club\u003c/a> in Petaluma, and on October 19th, they will be on \u003ca href=\"http://www.piratecatradio.com\">Pirate Cat Radio\u003c/a> at 8pm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"order": 9
},
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
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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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"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
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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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"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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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"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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