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"content": "\u003cp>Goh Nakamura’s first album \u003cb>Daylight Savings\u003c/b>, while strictly pleasurable, was most notable for convincing San Francisco that our homegrown singer-songwriting could keep up with Zach Braff’s hungry playlist. Full of melancholy nice-guys-don’t-get-the girl maunderings and Beatles-influenced chord progressions, \u003cb>Savings\u003c/b> even contributed its title song to \u003ca href=\"http://www.imdb.com/title/tt0800027/\" target=\"offsite\" rel=\"noopener\">an ensemble romance\u003c/a> soundtrack. Yes it did.\u003c/p>\n\u003cp>There’s only so much falsetto and good songwriting a girl can take, so I’m thrilled to find Nakamura’s second album, \u003cb>Ulysses\u003c/b>, branching out in every way, without abandoning his well-established virtues. In fact these are stronger and hardier in service of the songs. We still have the steel-stringed brightness, the non-gratuitous chord changes and unpredictable melodies. And Nakamura’s silver-edged voice has limbered up and timbred down; it’s not just a delivery device anymore, but a pleasure of its own. He’s engaged a full band without seeming to encounter most of the usual pitfalls of transferring a solo practice into a collaborative one. His arrangements test the limits of some of his songwriting against a range of styles, from the obvious folk rock, to bossa nova, even pushing into the prog-rock-inflected. They don’t all work out — the folk rock works best here, as you might expect — but you’re glad to hear him do it.\u003c/p>\n\u003cp>Thus we get to hear Nakamura pushing stylistically \u003cem>and\u003c/em> thematically. The title suggests a concept album, and it almost works as one. Although the songs are still centered around relationships, listeners are allowed to organize the songs into an Odyssey, with a push here and there from the title track, from a musical interlude called “Telemachus,” and from sprinklings of quasi-classical allusions. The intention seems to be that the singer is a modern-day Ulysses on a years-long journey in search of home and love, but the moments of Penelopean perspective — especially in the lovely “Suitcase,” which sends a lover off on a journey with echoes of “Leaving on a Jet Plane” — play more strongly into the theme, and let a lot of air into the narrative.\u003c/p>\n\u003cp>Nakamura has always loved wordplay. Now, prodding his cleverness less, his lyrics turn up more of the intuitive verbal connections that work most powerfully in pop music. I don’t like to quote lyrics outside of their musical context, but my current favorite, “Somewhere,” namechecks moments from Nakamura’s historical landscape of folk and rock while describing their emotional effect. The “somewhere” is the own private place the singer is searching for among these pop-classic islands. Very Odyssean.\u003c/p>\n\u003cp>Of course, Nakamura makes a nine course meal of his influences, and at times they are only half-digested. It may be the zeitgeist, but there’s way too much Elliott Smith here; putting in strains of everybody from Clapton to James Taylor — or Suzanne Vega — doesn’t meld him away. There’s murkiness and turgidity in \u003cb>Ulysses\u003c/b>, too, as befits a near-concept album. The title track is too heavy for its surroundings and exhausts its own lyrics; a strangely portentous passage at the end of “Flowers” sucks all the warmth out of the song; and the residual nice-guy resentment of “Shoulder” would be better left off future albums. But again, the stumbles are those of someone aiming high and tripping over his shoelaces, and not of someone who doesn’t know what he wants to do, or what he’s doing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in the final measure: there are songs here that I wish were meadows, so I could lie in them all day. I’ve racked up quite a playcount for “Somewhere,” “Suitcase,” “Sarah Rose,” and “Section of Sky,” and there are a couple more I’m eyeing in a friendly manner. Consider this a strong recommendation for your iPods.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ulysses\u003c/b> is \u003ca href=\"http://cdbaby.com/cd/nakamura3\" target=\"offsite\" rel=\"noopener\">available for purchase from CDBaby\u003c/a>. The artist will also be offering a free download of a medium quality recording, or a “fan package” with extra songs from some of his favorite bands \u003ca href=\"http://gohnakamura.com/\" target=\"offsite\" rel=\"noopener\">on his website\u003c/a> in a few weeks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goh Nakamura’s first album \u003cb>Daylight Savings\u003c/b>, while strictly pleasurable, was most notable for convincing San Francisco that our homegrown singer-songwriting could keep up with Zach Braff’s hungry playlist. Full of melancholy nice-guys-don’t-get-the girl maunderings and Beatles-influenced chord progressions, \u003cb>Savings\u003c/b> even contributed its title song to \u003ca href=\"http://www.imdb.com/title/tt0800027/\" target=\"offsite\" rel=\"noopener\">an ensemble romance\u003c/a> soundtrack. Yes it did.\u003c/p>\n\u003cp>There’s only so much falsetto and good songwriting a girl can take, so I’m thrilled to find Nakamura’s second album, \u003cb>Ulysses\u003c/b>, branching out in every way, without abandoning his well-established virtues. In fact these are stronger and hardier in service of the songs. We still have the steel-stringed brightness, the non-gratuitous chord changes and unpredictable melodies. And Nakamura’s silver-edged voice has limbered up and timbred down; it’s not just a delivery device anymore, but a pleasure of its own. He’s engaged a full band without seeming to encounter most of the usual pitfalls of transferring a solo practice into a collaborative one. His arrangements test the limits of some of his songwriting against a range of styles, from the obvious folk rock, to bossa nova, even pushing into the prog-rock-inflected. They don’t all work out — the folk rock works best here, as you might expect — but you’re glad to hear him do it.\u003c/p>\n\u003cp>Thus we get to hear Nakamura pushing stylistically \u003cem>and\u003c/em> thematically. The title suggests a concept album, and it almost works as one. Although the songs are still centered around relationships, listeners are allowed to organize the songs into an Odyssey, with a push here and there from the title track, from a musical interlude called “Telemachus,” and from sprinklings of quasi-classical allusions. The intention seems to be that the singer is a modern-day Ulysses on a years-long journey in search of home and love, but the moments of Penelopean perspective — especially in the lovely “Suitcase,” which sends a lover off on a journey with echoes of “Leaving on a Jet Plane” — play more strongly into the theme, and let a lot of air into the narrative.\u003c/p>\n\u003cp>Nakamura has always loved wordplay. Now, prodding his cleverness less, his lyrics turn up more of the intuitive verbal connections that work most powerfully in pop music. I don’t like to quote lyrics outside of their musical context, but my current favorite, “Somewhere,” namechecks moments from Nakamura’s historical landscape of folk and rock while describing their emotional effect. The “somewhere” is the own private place the singer is searching for among these pop-classic islands. Very Odyssean.\u003c/p>\n\u003cp>Of course, Nakamura makes a nine course meal of his influences, and at times they are only half-digested. It may be the zeitgeist, but there’s way too much Elliott Smith here; putting in strains of everybody from Clapton to James Taylor — or Suzanne Vega — doesn’t meld him away. There’s murkiness and turgidity in \u003cb>Ulysses\u003c/b>, too, as befits a near-concept album. The title track is too heavy for its surroundings and exhausts its own lyrics; a strangely portentous passage at the end of “Flowers” sucks all the warmth out of the song; and the residual nice-guy resentment of “Shoulder” would be better left off future albums. But again, the stumbles are those of someone aiming high and tripping over his shoelaces, and not of someone who doesn’t know what he wants to do, or what he’s doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in the final measure: there are songs here that I wish were meadows, so I could lie in them all day. I’ve racked up quite a playcount for “Somewhere,” “Suitcase,” “Sarah Rose,” and “Section of Sky,” and there are a couple more I’m eyeing in a friendly manner. Consider this a strong recommendation for your iPods.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ulysses\u003c/b> is \u003ca href=\"http://cdbaby.com/cd/nakamura3\" target=\"offsite\" rel=\"noopener\">available for purchase from CDBaby\u003c/a>. The artist will also be offering a free download of a medium quality recording, or a “fan package” with extra songs from some of his favorite bands \u003ca href=\"http://gohnakamura.com/\" target=\"offsite\" rel=\"noopener\">on his website\u003c/a> in a few weeks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Triple CD Release Thursday: Tartufi, Built for the Sea, Low Red Land",
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"content": "\u003cp>While every weekend in the Bay Area is packed with fantastic local shows, seldom do we see a triple CD-release, particularly from three of the most up-and-coming bands in the Bay Area — in this case: Tartufi, Built for the Sea and Low Red Land. The show, presented by \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>, will take place Thursday, Sept. 18 at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The headliner for the show is \u003ca href=\"http://www.myspace.com/tartufi\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> — a band that won The San Francisco Bay Guardian’s “Best Indie Band of 2007” and whose new album \u003cb>Nests of Waves and Wire\u003c/b> is highly anticipated among local indie fans. This show is a bit of a tease as the album isn’t officially out yet, but presale is available, and the band will play many songs from the new album.\u003c/p>\n\u003cp>Trying to describe Tartufi’s music is difficult, more so than your typical good indie band. “Eclectic” is an understatement; “noisy” doesn’t do it justice. The music is varied enough to be able to draw out influences anywhere from indie pop to heavy metal. Vocalist Lynne Angel has the projection of an opera singer (minus the crazy vibrato) and emotion to match. Paired with Brian Gorman on drums, this duo could pull off any sound in the rock realm.\u003c/p>\n\u003cp>Certainly during their live show but particularly on the album, this band in no way sounds like a two-piece. The raw and driving guitar sounds are varied in effects, and interspersed with bass, delicate bell sounds and even sirens throughout the record. Not only that, but the drums’ sound is so heavy it often sounds like a choir of drums. This show kicks off a national tour for Tartufi that runs through the beginning of November.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, who have not released an album in over two years, will release a new EP that seamlessly brings together all of the elements the band has been working on over the years. As their name hints, the sound is indeed aquatic, as the instruments flow and lap into each other, with Lia Rose’s vocals supported atop like a floating leaf. With the guitar and vocals heavy on the reverb, and the occasional fairytale lyric, the package is indeed dreamlike, but definitely not soporific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And speaking of waking up, the opening band on the bill is \u003ca href=\"http://www.myspace.com/lowredland\" target=\"offsite\" rel=\"noopener\">Low Red Land\u003c/a>, a band that has recently been all over the local indie radar. Despite this band’s ability to play heartbreakingly beautiful acoustic sets, their electrified show gets quite raucous. The new album \u003cb>Dog’s Hymns\u003c/b> is a breathtaking combination of folky lyrics and phrasing over driving, distorted and sometimes feedback-laden guitars. Vocalists Neil Thompson and Ben Thorne are not afraid to tear their vocal chords, whether it’s in unison or in harmony.\u003c/p>\n\u003cp>The song topics Low Red Land chooses are also quite uncharacteristic of their noisy indie or alternative counterparts. Instead of bedroom love songs and teenage angst, the band sings poetic tunes of gunfighters and ancestry.\u003c/p>\n\u003cp>To top off the evening, \u003ca href=\"http://www.myspace.com/threadproductions\" target=\"offsite\" rel=\"noopener\">Thread Productions\u003c/a>, a collaborative that includes both Low Red Land and Tartufi, will be releasing their latest compilation, \u003cb>The Dragon Slayers, Volume III\u003c/b> at the show. Don’t miss this amazing lineup Thurs. beginning at 8pm. The show costs $12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Logan is the News 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>While every weekend in the Bay Area is packed with fantastic local shows, seldom do we see a triple CD-release, particularly from three of the most up-and-coming bands in the Bay Area — in this case: Tartufi, Built for the Sea and Low Red Land. The show, presented by \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>, will take place Thursday, Sept. 18 at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The headliner for the show is \u003ca href=\"http://www.myspace.com/tartufi\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> — a band that won The San Francisco Bay Guardian’s “Best Indie Band of 2007” and whose new album \u003cb>Nests of Waves and Wire\u003c/b> is highly anticipated among local indie fans. This show is a bit of a tease as the album isn’t officially out yet, but presale is available, and the band will play many songs from the new album.\u003c/p>\n\u003cp>Trying to describe Tartufi’s music is difficult, more so than your typical good indie band. “Eclectic” is an understatement; “noisy” doesn’t do it justice. The music is varied enough to be able to draw out influences anywhere from indie pop to heavy metal. Vocalist Lynne Angel has the projection of an opera singer (minus the crazy vibrato) and emotion to match. Paired with Brian Gorman on drums, this duo could pull off any sound in the rock realm.\u003c/p>\n\u003cp>Certainly during their live show but particularly on the album, this band in no way sounds like a two-piece. The raw and driving guitar sounds are varied in effects, and interspersed with bass, delicate bell sounds and even sirens throughout the record. Not only that, but the drums’ sound is so heavy it often sounds like a choir of drums. This show kicks off a national tour for Tartufi that runs through the beginning of November.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, who have not released an album in over two years, will release a new EP that seamlessly brings together all of the elements the band has been working on over the years. As their name hints, the sound is indeed aquatic, as the instruments flow and lap into each other, with Lia Rose’s vocals supported atop like a floating leaf. With the guitar and vocals heavy on the reverb, and the occasional fairytale lyric, the package is indeed dreamlike, but definitely not soporific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And speaking of waking up, the opening band on the bill is \u003ca href=\"http://www.myspace.com/lowredland\" target=\"offsite\" rel=\"noopener\">Low Red Land\u003c/a>, a band that has recently been all over the local indie radar. Despite this band’s ability to play heartbreakingly beautiful acoustic sets, their electrified show gets quite raucous. The new album \u003cb>Dog’s Hymns\u003c/b> is a breathtaking combination of folky lyrics and phrasing over driving, distorted and sometimes feedback-laden guitars. Vocalists Neil Thompson and Ben Thorne are not afraid to tear their vocal chords, whether it’s in unison or in harmony.\u003c/p>\n\u003cp>The song topics Low Red Land chooses are also quite uncharacteristic of their noisy indie or alternative counterparts. Instead of bedroom love songs and teenage angst, the band sings poetic tunes of gunfighters and ancestry.\u003c/p>\n\u003cp>To top off the evening, \u003ca href=\"http://www.myspace.com/threadproductions\" target=\"offsite\" rel=\"noopener\">Thread Productions\u003c/a>, a collaborative that includes both Low Red Land and Tartufi, will be releasing their latest compilation, \u003cb>The Dragon Slayers, Volume III\u003c/b> at the show. Don’t miss this amazing lineup Thurs. beginning at 8pm. The show costs $12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week’s podcast features Bart Davenport, a Berkeley native whose lengthy music career has spanned RB, garage rock, and electronic pop with The Loved Ones, The Kinetics, Persephone’s Bees and Honeycut, as well as several well-received albums as a solo singer-songwriter. After years of successful touring with Honeycut, Bart now returns to the solo artist world with \u003cb>Palaces\u003c/b>, out today on Antenna Farm Records. Full of compelling, catchy melodies and great pop songwriting, \u003cb>Palaces\u003c/b> is definitely one of the best records we’ve heard this year.\u003c/p>\n\u003cp>Initially planned as collaborative effort with local producer and songwriter Kelley Stoltz, Davenport found himself taking over the reigns with only a handful of songs completed, when scheduling conflicts directed Stoltz elsewhere. Perhaps as a result, the album draws from across the talented performer’s broad spectrum of musical tastes, with songs ranging from folksy to funky and melancholic to upbeat. And while Stoltz, the guys from Honeycut, and others appear on the album, it’s clearly Bart’s show, as he manages to channel his love of classic RB and pop into a thoroughly modern affair.\u003c/p>\n\u003cp>We spoke with Bart a few weeks back for a fascinating discussion of tour stories, evolving musical influences and more. We’re also excited to include four songs from \u003cb>Palaces\u003c/b> in the episode and you should be sure to catch Bart live at his CD release show later this month, or on his upcoming national tour.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Cafe du Nord\u003cbr>with Sugar and Gold and Miles Benjamin Anthony Robinson\u003cbr>Friday, Sept. 19, 9:30pm, $12\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 features Bart Davenport, a Berkeley native whose lengthy music career has spanned RB, garage rock, and electronic pop with The Loved Ones, The Kinetics, Persephone’s Bees and Honeycut, as well as several well-received albums as a solo singer-songwriter. After years of successful touring with Honeycut, Bart now returns to the solo artist world with \u003cb>Palaces\u003c/b>, out today on Antenna Farm Records. Full of compelling, catchy melodies and great pop songwriting, \u003cb>Palaces\u003c/b> is definitely one of the best records we’ve heard this year.\u003c/p>\n\u003cp>Initially planned as collaborative effort with local producer and songwriter Kelley Stoltz, Davenport found himself taking over the reigns with only a handful of songs completed, when scheduling conflicts directed Stoltz elsewhere. Perhaps as a result, the album draws from across the talented performer’s broad spectrum of musical tastes, with songs ranging from folksy to funky and melancholic to upbeat. And while Stoltz, the guys from Honeycut, and others appear on the album, it’s clearly Bart’s show, as he manages to channel his love of classic RB and pop into a thoroughly modern affair.\u003c/p>\n\u003cp>We spoke with Bart a few weeks back for a fascinating discussion of tour stories, evolving musical influences and more. We’re also excited to include four songs from \u003cb>Palaces\u003c/b> in the episode and you should be sure to catch Bart live at his CD release show later this month, or on his upcoming national tour.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Cafe du Nord\u003cbr>with Sugar and Gold and Miles Benjamin Anthony Robinson\u003cbr>Friday, Sept. 19, 9:30pm, $12\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From the looks of them, the members of \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster\u003c/a> are slightly unlikely folk-heads. They are skinny and wear tight jeans. Their hair is disheveled perfection. But when the music starts, it is raw and heartfelt, sometimes twangy — indie-folk tunes with grace.\u003c/p>\n\u003cp>With their new album \u003cb>From the Mountain to the Sea\u003c/b>, Birdmonster offers a collection of characters that demonstrates their great grasp of melody and harmony. The songs, while not overly complicated, are carefully sculpted to produce a soothing balance.\u003c/p>\n\u003cp>One of the most distinct elements of the album (and the band in general) is Peter Arcuni’s vocals, which mimic a Buddy Holly-type lightness and exude the necessary frontman confidence. The other members gracefully accompany, adding banjo, mandolin, guitar and bass-drum heavy percussion, respectively, with a dignified enthusiasm.\u003c/p>\n\u003cp>At their CD listening party a few weeks ago, the band broke their performance into two sections, acoustic and electric, which is telling. The album is nicely sprinkled with a good balance of each, and to break them up was almost a shame, but it ultimately worked in their favor. It showcased the different personality of each song in the context of his or her brothers and sisters, while also highlighting the difference between the two styles, setting them apart as the quiet, intelligent types and the rebellious punk rockers.\u003c/p>\n\u003cp>Tracing the lineage of these songs back to previous Birdmonster albums is quite fascinating — this album takes a significant step away from loud indie rock and into softer, more sentimental folk realms. Perhaps that’s just what happens when you, and your musical progeny, get older.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The family of songs fits nicely together, but there is one black sheep, “Heart of the Dead.” It’s a great song — a poppy and modern salute to post-punk — but it sticks out like a sore thumb in an otherwise smooth indie-folk album. Perhaps we can think of it as the adopted second cousin.\u003c/p>\n\u003cp>Upon hearing the tune “Born to be Your Man,” it’s evident that it will be the crowd favorite (the Marcia Brady of this particular sonic family). Beginning with a sprightly vocal line and lyrics that will make the teenage girls swoon, the song builds nicely, introducing poppy guitar licks and a few subtle but key vocal harmonies. It’s sure to make the others a little jealous.\u003c/p>\n\u003cp>But there are many other tunes that hold their own, such as (in the acoustic family) “I Might Have Guessed,” “Lost at Sea,” and (from the electric family) “The Iditarod.” It’s a well-groomed bunch — the mixing of the album prevents stark contrasts between songs from being too evident, and the instrument that stands out changes in each.\u003c/p>\n\u003cp>Birdmonster play The Great American Music Hall in San Francisco September 3, 2008 with Nada Surf. You can get to know the new album on \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster’s MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for, \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The family of songs fits nicely together, but there is one black sheep, “Heart of the Dead.” It’s a great song — a poppy and modern salute to post-punk — but it sticks out like a sore thumb in an otherwise smooth indie-folk album. Perhaps we can think of it as the adopted second cousin.\u003c/p>\n\u003cp>Upon hearing the tune “Born to be Your Man,” it’s evident that it will be the crowd favorite (the Marcia Brady of this particular sonic family). Beginning with a sprightly vocal line and lyrics that will make the teenage girls swoon, the song builds nicely, introducing poppy guitar licks and a few subtle but key vocal harmonies. It’s sure to make the others a little jealous.\u003c/p>\n\u003cp>But there are many other tunes that hold their own, such as (in the acoustic family) “I Might Have Guessed,” “Lost at Sea,” and (from the electric family) “The Iditarod.” It’s a well-groomed bunch — the mixing of the album prevents stark contrasts between songs from being too evident, and the instrument that stands out changes in each.\u003c/p>\n\u003cp>Birdmonster play The Great American Music Hall in San Francisco September 3, 2008 with Nada Surf. You can get to know the new album on \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster’s MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for, \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Formed by singer-guitarist Greg Giles in 1997, 20 Minute Loop is surely one of the longest running bands in San Francisco indie rock, having outlasted late-nineties peers who have either moved out of the area, broken up, or both. Perhaps the group’s secret is pacing itself; their latest album, \u003cb>Famous People Marry Famous People\u003c/b>, released last month, is their first CD in three years, but it reintroduces them as pop songsmiths of the highest caliber, adept at crafting idea-packed tracks that are clever, catchy and wholly engaging.\u003c/p>\n\u003cp>They’ve been called “freak pop” and “art rock,” but I think of 20 Minute Loop as a Bay Area answer to the New Pornographers, fueled by crunchy guitars and soaring melodies that betray a love of classic power pop and early nineties indie sounds. \u003cb>Famous People Marry Famous People\u003c/b> continues this tradition on driving rockers like “Dr. Vitus Werdegast” and “The Bone Is The Orbital Planet Of The Nerve,” and a number of tunes keep the energy high throughout the album.\u003c/p>\n\u003cp>While past works have showcased 20 ML’s adeptness at eschewing verse-chorus-verse songwriting through musical left-turns, six of the songs here hover around the three minute mark, which limits the canvas for quirky transitions but ensures that each track is crammed full of ideas. In the end, it’s a matter of trade-offs: in exchange for less prog, one gets to absorb more of the details, and soak in the warm layers of vocals, keyboards and guitars stacked on songs like “Latin Names and Straight Pins.” The band’s clean straightforward production efforts enable a full chamber pop sound without sacrificing dynamic power.\u003c/p>\n\u003cp>Over the years, the 20 Minute Loop sound has been in part defined by the vocal interplay between Giles and singer-keyboardist Kelly Atkins. Whether they’re harmonizing or trading lines, there’s just something about the way the pair’s voices mix that’s engaging even as the songs twist and turn around them, and even as they confront big issues filtered through individual experiences. Given how ridiculously catchy the songs are, it’s easy to be caught off-guard by how powerful the lyrics can be, tackling the meaning of empire, war and outsider status through detalied examinations of personal unhappiness and individualized conflicts.\u003c/p>\n\u003cp>“Automatic Pilot,” for example, begins with the observation, “Rifle shot, gun report / Sounds a lot like bubble wrap when it’s snapped” before plunging headlong into a study of the threat of violence through a summer camp prism. It’s weighty, challenging stuff, to be sure, and it can be overwhelming to try and process all of the lyrical and musical ideas as they’re being presented. That’s when you let the poppy melodies take over and just nod your head and tap your feet, even if you can’t yet sing along.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can listen to the entire new album at 20 Minute Loop’s \u003ca href=\"http://20minuteloop.bandcamp.mu/\" target=\"offsite\" rel=\"noopener\">Bandcamp page\u003c/a> and purchase it at \u003ca href=\"http://cdbaby.com/cd/20minuteloop\" target=\"offsite\" rel=\"noopener\">CDBaby\u003c/a>. Visit 20 Minute Loop’s \u003ca href=\"http://www.20minuteloop.com/\" target=\"offsite\" rel=\"noopener\">web site\u003c/a> and \u003ca href=\"http://www.myspace.com/20minuteloop\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is News Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Formed by singer-guitarist Greg Giles in 1997, 20 Minute Loop is surely one of the longest running bands in San Francisco indie rock, having outlasted late-nineties peers who have either moved out of the area, broken up, or both. Perhaps the group’s secret is pacing itself; their latest album, \u003cb>Famous People Marry Famous People\u003c/b>, released last month, is their first CD in three years, but it reintroduces them as pop songsmiths of the highest caliber, adept at crafting idea-packed tracks that are clever, catchy and wholly engaging.\u003c/p>\n\u003cp>They’ve been called “freak pop” and “art rock,” but I think of 20 Minute Loop as a Bay Area answer to the New Pornographers, fueled by crunchy guitars and soaring melodies that betray a love of classic power pop and early nineties indie sounds. \u003cb>Famous People Marry Famous People\u003c/b> continues this tradition on driving rockers like “Dr. Vitus Werdegast” and “The Bone Is The Orbital Planet Of The Nerve,” and a number of tunes keep the energy high throughout the album.\u003c/p>\n\u003cp>While past works have showcased 20 ML’s adeptness at eschewing verse-chorus-verse songwriting through musical left-turns, six of the songs here hover around the three minute mark, which limits the canvas for quirky transitions but ensures that each track is crammed full of ideas. In the end, it’s a matter of trade-offs: in exchange for less prog, one gets to absorb more of the details, and soak in the warm layers of vocals, keyboards and guitars stacked on songs like “Latin Names and Straight Pins.” The band’s clean straightforward production efforts enable a full chamber pop sound without sacrificing dynamic power.\u003c/p>\n\u003cp>Over the years, the 20 Minute Loop sound has been in part defined by the vocal interplay between Giles and singer-keyboardist Kelly Atkins. Whether they’re harmonizing or trading lines, there’s just something about the way the pair’s voices mix that’s engaging even as the songs twist and turn around them, and even as they confront big issues filtered through individual experiences. Given how ridiculously catchy the songs are, it’s easy to be caught off-guard by how powerful the lyrics can be, tackling the meaning of empire, war and outsider status through detalied examinations of personal unhappiness and individualized conflicts.\u003c/p>\n\u003cp>“Automatic Pilot,” for example, begins with the observation, “Rifle shot, gun report / Sounds a lot like bubble wrap when it’s snapped” before plunging headlong into a study of the threat of violence through a summer camp prism. It’s weighty, challenging stuff, to be sure, and it can be overwhelming to try and process all of the lyrical and musical ideas as they’re being presented. That’s when you let the poppy melodies take over and just nod your head and tap your feet, even if you can’t yet sing along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can listen to the entire new album at 20 Minute Loop’s \u003ca href=\"http://20minuteloop.bandcamp.mu/\" target=\"offsite\" rel=\"noopener\">Bandcamp page\u003c/a> and purchase it at \u003ca href=\"http://cdbaby.com/cd/20minuteloop\" target=\"offsite\" rel=\"noopener\">CDBaby\u003c/a>. Visit 20 Minute Loop’s \u003ca href=\"http://www.20minuteloop.com/\" target=\"offsite\" rel=\"noopener\">web site\u003c/a> and \u003ca href=\"http://www.myspace.com/20minuteloop\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is News Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week’s featured band is Judgement Day, a violin-cello-drums trio from Oakland that plays instrumental rock that’s as intense as it is unconventional. Unlike the many who abandon their early instruments for guitars, Anton and Lewis Patzner use their classical training to explore rock motifs, amplifying the results through the manipulation of a variety of effects pedals and the similarly strong drumming of bandmate Jon Bush.\u003c/p>\n\u003cp>The Patzners’ innovative use of effects and the band’s heavy sound have led many to label their band “string metal,” although their unique setup and ability to go acoustic or electric means that the trio continues to play shows with punk rockers and indie poppers alike. As we learned during the interview, the process of recording their second full-length album has found them exploring slower tempos and different sounds, moving from string metal to heavy, powerful rock. They’ve also gained experience accompanying other more veteran groups on tour, as they did recently with Mates of State.\u003c/p>\n\u003cp>We sat down with Anton and Lewis a few weeks ago to discuss Judgement Day’s upcoming album, the group’s early performances, and the things they’ve learned from playing with other bands. We also recorded an exclusive impromptu jam featuring Anton on violin and Lewis on percussion. It’s a great performance that showcases the band’s intuitive sense of creativity and eye-widening musicianship.\u003c/p>\n\u003cp>Upcoming Shows:\u003cbr>The Bay Bridged Presents:\u003cbr>Sunday, August 17th\u003cbr>Cafe du Nord\u003cbr>with Geographer (CD Release!) and Cotillion\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I have one foot out the door. “Don’t go,” a woman in the back of the lounge says, “She’s awesome.” Then a steamy voice arises from the crowd. I swim through the bodies until I come to a dark violet figure, the space around her inhabited by a sea of mesmerized faces. “Awesome” is a word I’ve heard too many times to be able to use it to describe the new way I am struck by Krystle Warren. She doesn’t scare me with her skill or shake me with her song. Instead, her husky voice just seeps in, while the subtly electrifying reverberations stir me, like an underground current.\u003c/p>\n\u003cp>She is slender and tough, with her pelvis tilted back behind the guitar. Completely absorbed, she shrugs off a glass of water between songs; “I’m allergic to water.” Her straightforward, focused masculine confidence is overshadowed by her womanly silhouette as she sings of throbbing vulnerability: “Too young to know, too shy to ask. So we lay in the bed with the thoughts in our head…” Her chin perks and her head shimmies with the high notes. Her right arm chugs the guitar like the side rods on a train, and her left foot stomps out an imaginary cigarette; a ricochet of her melodies. Her face cringes into the grimace of a crazed cry. I almost cry with her, my stomach cracking with the tug of her chords, until I see her mouth explode into a wide, toothy grin. She closes her eyes and bites the air with a scintillating high note.\u003c/p>\n\u003cp>“My third love,” she sings, her voice like a bear humming from deep in a cave. Wait. Didn’t she mean “my \u003ci>first\u003c/i> love?” No, she repeats it again and again: “My third love. My third love. My third love.” But it doesn’t matter, because no matter what number this love is, it can still be disappointing. Falling in love has an overarching daze of enchantment to it, but on a day-to-day reality, intimacy is about quirks and compatibility. I hear this as Warren’s voice slips and slides into the sorrow: “My third love was never loving.”\u003c/p>\n\u003cp>Krystle Warren resists being categorized with other famous black female artists. Her voice is sandier and feistier than Chapman’s. She is more hollow and more bass than Hill. And unlike Nina Simone, she is giddily soulful, as she finishes “My Third Love” and tells us, “That was the angriest song here tonight, all the rest are very happy.”\u003c/p>\n\u003cp>Krystle Warren is a preacher, even though she hasn’t started a church yet. Her verse digs into the gut and then tapers off with a wispy, feminine breath. Some sit on the floor wearing wide grins, others bounce their knees from the stools at the bar. She raises a smooth arm and delicate hand to beckon the audience. She scats that she refuses to end her song until we are all singing with her. She invokes love. A roomful of strangers in Amnesia Lounge shyly declares that there is love out there and we will find it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Krystle Warren plays The Great American Music Hall August 24 & 25, 2008. For \u003ca href=\"http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=83178103\" target=\"offsite\" rel=\"noopener\">more information\u003c/a> visit Warren’s profile on myspace.com.\u003c/p>\n\n",
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"content": "\u003cp>Being different is hard work; at least, it must be considering the amount of musicians who fail miserably to excel in the department of individual distinction. Few artists would ever admit that they actually want to sound like someone else (other than the members of Nearvana and Ironically Maiden, perhaps), but the fact that so many never seem to fully escape the orbit of their influences speaks for itself.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"http://www.31knots.com/\" target=\"offsite\" rel=\"noopener\">31Knots\u003c/a> haven’t been afraid to put in a bit of hard graft in their pursuit of idiosyncrasy. Their new album \u003cb>Worried Well\u003c/b> is a peculiar beast in the best possible sense, a great leap into the upper atmosphere that strains at the seams with new ideas and unexpected changes of direction.\u003c/p>\n\u003cp>The album opens with “Baby of Riots,” just 43 seconds of clicks, whirrs, hand claps, shouts, and yelps that steadily builds momentum before jumping without a pause into the guitar rush of first track proper “Certificate.” From here all the way through to closer “Between 1&2,” which sounds like a recording of a Jamaican steel band being played at half speed from the bottom of the ocean, there is little that seems recycled or predictable. Songs stop, start, deviate, and turn, all the time using strange noises and samples that seem more in tune with the world of experimental electronica than rock.\u003c/p>\n\u003cp>And yet this three-piece probably couldn’t be more pedestrian in composition: Portland-based singer/guitarist Joe Haege and bassist Jay Winebrenner are backed by San Francisco’s Jay Pellici on drums. Together, the three of them sound like a fairly recognizable indie pop band one moment, before becoming speeding, screaming, feedback-driven noiseniks, lurching back to become the house band for a midnight cabaret show in Berlin, then metamorphosing again into some infernal, clanking machine of the gods (often all within the space of a single song).\u003c/p>\n\u003cp>But wait, it gets better. They have all this, and brains too. Song titles such as “Statistics and the Heart of Man” and lyrics like “Better to know your place and to take it / Better to fail the test than to fake it” from “The Breaks,” point towards real intelligence at work in the midst of the chaos. And wit, too: “Compass Commands” at one point breaks into a call-and-response sequence that starts out sounding a little like OutKast’s “Hey Ya!” (“Ladies? \u003ci>Yes?\u003c/i> Are you ready?”) but then quickly shifts tone: “So who can tell me the universal rule of thumb? \u003ci>Kill or be killed.\u003c/i>“\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Snatches of other unexpected influences pop up now and then. “Upping the Mandate” has an eighties R&B synth sound that is pure Prince, while there is a Queen-like theatricality to tracks such as “Strange Kicks.” The combination of metronomic bass and angular guitar that crops up more than once (for example on “Certificate” and “Opaque/White”) recalls The Cure’s early days (think “10:15 on a Saturday Night”). And near-title track “Worried but not Well” has moments of Beatlesque guitar, but in a chopped up way that is more closely related to the left field genius of Danger Mouse’s \u003ca href=\"http://www.spin.com/reviews/danger-mouse-grey-album-wwwdjdangermousecom\" target=\"offsite\" rel=\"noopener\">Grey Album\u003c/a> than any boring, Oasis-style homage. And few of these moments are allowed to hang around long enough to distract before 31Knots lurch onward once again.\u003c/p>\n\u003cp>Someone was obviously paying attention at Weird School. If you want to stand out from the crowd, it isn’t enough to merely copy someone else who sounds a bit strange. No, 31Knots are ringmasters of their own circus, creating an exciting dramatic space full of theatricality, menace, and humor. They also have an ease and assuredness that comes from maturity. With five previous albums and several EPs already under their belts, 31Knots have had the time and space to grow into themselves, and are now thoroughly convincing in their conviction. They succeed in drawing you into the world they’ve created because first and foremost they seem to believe in it themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Worried Well\u003c/b> by 31Knots is released August 19, 2008 on \u003ca href=\"http://www.polyvinylrecords.com\" target=\"offsite\" rel=\"noopener\">Polyvinyl Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being different is hard work; at least, it must be considering the amount of musicians who fail miserably to excel in the department of individual distinction. Few artists would ever admit that they actually want to sound like someone else (other than the members of Nearvana and Ironically Maiden, perhaps), but the fact that so many never seem to fully escape the orbit of their influences speaks for itself.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"http://www.31knots.com/\" target=\"offsite\" rel=\"noopener\">31Knots\u003c/a> haven’t been afraid to put in a bit of hard graft in their pursuit of idiosyncrasy. Their new album \u003cb>Worried Well\u003c/b> is a peculiar beast in the best possible sense, a great leap into the upper atmosphere that strains at the seams with new ideas and unexpected changes of direction.\u003c/p>\n\u003cp>The album opens with “Baby of Riots,” just 43 seconds of clicks, whirrs, hand claps, shouts, and yelps that steadily builds momentum before jumping without a pause into the guitar rush of first track proper “Certificate.” From here all the way through to closer “Between 1&2,” which sounds like a recording of a Jamaican steel band being played at half speed from the bottom of the ocean, there is little that seems recycled or predictable. Songs stop, start, deviate, and turn, all the time using strange noises and samples that seem more in tune with the world of experimental electronica than rock.\u003c/p>\n\u003cp>And yet this three-piece probably couldn’t be more pedestrian in composition: Portland-based singer/guitarist Joe Haege and bassist Jay Winebrenner are backed by San Francisco’s Jay Pellici on drums. Together, the three of them sound like a fairly recognizable indie pop band one moment, before becoming speeding, screaming, feedback-driven noiseniks, lurching back to become the house band for a midnight cabaret show in Berlin, then metamorphosing again into some infernal, clanking machine of the gods (often all within the space of a single song).\u003c/p>\n\u003cp>But wait, it gets better. They have all this, and brains too. Song titles such as “Statistics and the Heart of Man” and lyrics like “Better to know your place and to take it / Better to fail the test than to fake it” from “The Breaks,” point towards real intelligence at work in the midst of the chaos. And wit, too: “Compass Commands” at one point breaks into a call-and-response sequence that starts out sounding a little like OutKast’s “Hey Ya!” (“Ladies? \u003ci>Yes?\u003c/i> Are you ready?”) but then quickly shifts tone: “So who can tell me the universal rule of thumb? \u003ci>Kill or be killed.\u003c/i>“\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Snatches of other unexpected influences pop up now and then. “Upping the Mandate” has an eighties R&B synth sound that is pure Prince, while there is a Queen-like theatricality to tracks such as “Strange Kicks.” The combination of metronomic bass and angular guitar that crops up more than once (for example on “Certificate” and “Opaque/White”) recalls The Cure’s early days (think “10:15 on a Saturday Night”). And near-title track “Worried but not Well” has moments of Beatlesque guitar, but in a chopped up way that is more closely related to the left field genius of Danger Mouse’s \u003ca href=\"http://www.spin.com/reviews/danger-mouse-grey-album-wwwdjdangermousecom\" target=\"offsite\" rel=\"noopener\">Grey Album\u003c/a> than any boring, Oasis-style homage. And few of these moments are allowed to hang around long enough to distract before 31Knots lurch onward once again.\u003c/p>\n\u003cp>Someone was obviously paying attention at Weird School. If you want to stand out from the crowd, it isn’t enough to merely copy someone else who sounds a bit strange. No, 31Knots are ringmasters of their own circus, creating an exciting dramatic space full of theatricality, menace, and humor. They also have an ease and assuredness that comes from maturity. With five previous albums and several EPs already under their belts, 31Knots have had the time and space to grow into themselves, and are now thoroughly convincing in their conviction. They succeed in drawing you into the world they’ve created because first and foremost they seem to believe in it themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Worried Well\u003c/b> by 31Knots is released August 19, 2008 on \u003ca href=\"http://www.polyvinylrecords.com\" target=\"offsite\" rel=\"noopener\">Polyvinyl Records\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s often the case that good music is filled with paradoxes. Whether it’s a calmly beautiful folk song that carries an almost militant political message or a song that’s instrumentally sparse but somehow expresses a complex subject, these songs achieve something spectacular. Such is the case with \u003ca href=\"http://www.myspace.com/okaytheband\" target=\"offsite\" rel=\"noopener\">Okay\u003c/a>‘s new album \u003cb>Huggable Dust\u003c/b> (2008, \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">Absolutely Kosher\u003c/a>).\u003c/p>\n\u003cp>The Fremont band, which is essentially one man, Marty Anderson, and friends, has caught the ears of many passionate and adoring fans throughout the Bay Area and beyond. \u003cb>Huggable Dust\u003c/b>, a followup to the 2005 double-release of \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, is characteristic of the sound Okay fans have come to know and love, but with a few extra kicks.\u003c/p>\n\u003cp>The sound itself is filled with contradictions — some tracks as simple as children’s songs, with tinkling piano and guitar, and others densely layered with synth and wind sounds that feel futuristic in contrast to the acoustic base — see track 13, “Poof.”\u003c/p>\n\u003cp>With \u003cb>Low Road\u003c/b> and \u003cb>High Road\u003c/b>, the overdubs were rumored to have exceeded the double digits, and I wouldn’t be surprised if the same is true for some of the songs on \u003cb>Huggable Dust\u003c/b>. But this is just one of the album’s extremes — whether it’s optimism and pessimism, simple and complex, loud and soft, sparse and crowded, it’s got everything — sometimes to a dizzying degree.The first listen is like seeing your first Jackson Pollock painting after looking at Renoir your whole life.\u003c/p>\n\u003cp>Anderson’s somewhat scratchy, almost strained-sounding voice may not resonate with everyone, but if you can hear it for the raw emotion and almost ironic pain that comes through, you’ll be sold. One can’t read about Anderson without learning that he has Crohn’s Disease, a gastrointestinal condition that, to say the least, is incredibly painful and has caused him many a night in the hospital. But what is so noteworthy about this fact is not that he elicits pity for his condition or anything of the sort, but rather that he has managed to take his experiences, build a spectacular outlook on life and craft songs that anyone can relate to — both in pain and elation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the album you can see Anderson’s struggle — with life, with love, with his disease. The themes flow like rolling hills, changing drastically from the painfully truthful (“What a nightmare to love”) to the almost forcefully optimistic (“I didn’t know that this somethin’ was really nothin’ in my way”), perhaps paralleling the very conflict that runs through each of us.\u003c/p>\n\u003cp>Most tracks contain sparse lyrics that are repeated, almost like a mantra: “There’s always a downside; There’s always an upside,” “I know who my sunshine is,” “I want you … to be happy.” One of the album’s highlights is “Natural,” a painfully sweet love song with the simplest of finger-picked guitar parts and a basic melody that Anderson sings with passion and pain at the same time: “I could write you a novel tonight; I could write you a new song each day; it’s a natural part of my day.” And really, he’s probably telling the truth. Anderson is notoriously prolific.\u003c/p>\n\u003cp>One often worries about the well-being of someone who is capable of expressing such personal sentiments in their songs, as expressing what’s inside of your soul can elicit varied reactions, from ridicule to obsession. But one thing is for sure: the act of delving into this record is very much a personal experience for the listener as well. She can relate to these tribulations in her own life, and she feels a deep and unmistakable compassion for someone who can write such “uplifting” songs, whatever condition he may be in.\u003c/p>\n\u003cp>In a live setting, Anderson is anything but feeble. Having won East Bay Express’s Most Charismatic Performer award in 2005, he and his up-to-7-person band are notorious for antics, from opening with everything from Tibetan bells to toy guns. And as Deerhoof has recently counted Okay as one of their favorite bands, they’ve asked Anderson to join them on two shows this October.\u003c/p>\n\u003cp>But prior to these, Okay will play \u003ca href=\"http://bottomofthehill.com/calendar.html\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Monday, July 28, 2008 with \u003ca href=\"http://www.myspace.com/thewatsontwins\" target=\"offsite\" rel=\"noopener\">The Watson Twins\u003c/a> (LA) and \u003ca href=\"http://www.myspace.com/timfite\" target=\"offsite\" rel=\"noopener\">Tim Fite\u003c/a> (Brooklyn). The show is $10 and will start at 9pm. You can buy \u003cb>Huggable Dust\u003c/b> and other Okay albums \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">via the Absolutely Kosher website\u003c/a>. Listen if you’re happy; listen if you’re sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the album you can see Anderson’s struggle — with life, with love, with his disease. The themes flow like rolling hills, changing drastically from the painfully truthful (“What a nightmare to love”) to the almost forcefully optimistic (“I didn’t know that this somethin’ was really nothin’ in my way”), perhaps paralleling the very conflict that runs through each of us.\u003c/p>\n\u003cp>Most tracks contain sparse lyrics that are repeated, almost like a mantra: “There’s always a downside; There’s always an upside,” “I know who my sunshine is,” “I want you … to be happy.” One of the album’s highlights is “Natural,” a painfully sweet love song with the simplest of finger-picked guitar parts and a basic melody that Anderson sings with passion and pain at the same time: “I could write you a novel tonight; I could write you a new song each day; it’s a natural part of my day.” And really, he’s probably telling the truth. Anderson is notoriously prolific.\u003c/p>\n\u003cp>One often worries about the well-being of someone who is capable of expressing such personal sentiments in their songs, as expressing what’s inside of your soul can elicit varied reactions, from ridicule to obsession. But one thing is for sure: the act of delving into this record is very much a personal experience for the listener as well. She can relate to these tribulations in her own life, and she feels a deep and unmistakable compassion for someone who can write such “uplifting” songs, whatever condition he may be in.\u003c/p>\n\u003cp>In a live setting, Anderson is anything but feeble. Having won East Bay Express’s Most Charismatic Performer award in 2005, he and his up-to-7-person band are notorious for antics, from opening with everything from Tibetan bells to toy guns. And as Deerhoof has recently counted Okay as one of their favorite bands, they’ve asked Anderson to join them on two shows this October.\u003c/p>\n\u003cp>But prior to these, Okay will play \u003ca href=\"http://bottomofthehill.com/calendar.html\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> on Monday, July 28, 2008 with \u003ca href=\"http://www.myspace.com/thewatsontwins\" target=\"offsite\" rel=\"noopener\">The Watson Twins\u003c/a> (LA) and \u003ca href=\"http://www.myspace.com/timfite\" target=\"offsite\" rel=\"noopener\">Tim Fite\u003c/a> (Brooklyn). The show is $10 and will start at 9pm. You can buy \u003cb>Huggable Dust\u003c/b> and other Okay albums \u003ca href=\"http://www.absolutelykosher.com/marty.html\" target=\"offsite\" rel=\"noopener\">via the Absolutely Kosher website\u003c/a>. Listen if you’re happy; listen if you’re sad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I love my record collection, and I’m pretty sure it loves me. Sure, we’ve had our occasional ups and downs over the years, particularly after I’ve said something thoughtless and stupid like “you’ve got to slim down a bit.” Fortunately, we learned from our mistakes and in the end these hard times only made our bond stronger. But then, in April 2007, things changed.\u003c/p>\n\u003cp>At first I thought my trip to the United States was going to be temporary and we would only be apart for a few months. Then, when I decided to stay here, the months stretched out to more than a year. I’ve got to be honest, it put serious strain on both of us. 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Our first step was to visit the wonderful \u003ca href=\"http://www.fentonmaclaren.com/\" target=\"offsite\" rel=\"noopener\">Fenton MacLaren unfinished furniture store\u003c/a> in Berkeley, which sells inexpensive pine shelving units designed to fit CDs, DVDs, records, or books. If their standard sizes don’t work for you, then you can do what I did and have a unit custom-built to your own measurements for not much extra cost.\u003c/p>\n\u003cp>Next came the dreaded question: how to organize it all? With a total of around 1,000 CDs, I realized that I couldn’t just fill the shelves and hope for the best. They had to be sorted in a way that made sense not just to me but to my new wife as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past I operated a system loosely based on the “cream rises” principle: if you simply stack CDs back on top of each other after you listen to them, less-popular discs will tend to sink to the bottom of the heap, while your favorites will stay nearer the top where they’re easier to get at. I also grouped discs in piles that corresponded loosely to genre, although some of these were admittedly looser than others. My jazz section, for example, would have been obvious to anyone, but the fine line between the subsections devoted to “miserable music” and “CDs to drunkenly fall asleep to” probably wouldn’t have made sense to anyone but myself.\u003c/p>\n\u003cp>The solution to this organizational conundrum was to do something so drastic it still makes me slightly nauseous to even talk about: I alphabeticized my entire collection.\u003c/p>\n\u003cp>(A quick technical note: I ordered by artist name, with solo acts filed by surname. I haven’t been too strict about it though, for example sticking \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=18863\">Bill Callahan\u003c/a>‘s solo album next to his recordings as Smog.)\u003c/p>\n\u003cp>You may be wondering why I don’t just get with the 21st century and import all the CDs onto my computer. The truth is I don’t have nearly enough space on my hard disk and, even if I did, it would take me far longer to rip them all than it has done to simply organize them a bit. Plus, I like browsing through physical piles of CDs and records. They have details such as price tags on the cases that remind me where I was when I bought them, or stains on the sleeves from that party where I dropped a beer into my record bag. At the risk of sounding like an over-romantic luddite, you don’t get that from iTunes.\u003c/p>\n\u003cp>One added bonus I gained from the process, other than learning that I have a surprising number of recordings by artists whose names start with P, was that finally I was forced to do something about all those CDs that have thin, sleeve-like covers (mainly singles, promos, and CD-Rs) rather than proper plastic jewel cases with a legible spine. Previously, I had kept them all together in one big, impenetrable bunch, and had rarely bothered searching through them. Now, that was going to change.\u003c/p>\n\u003cp>But how to organize these slim-sided treasures? Mixing them individually with the rest wouldn’t be much of an improvement as they’d be pretty much invisible next to their thicker-cased cousins. Instead, I decided to create groups of them corresponding to each letter of the alphabet, then place these on the shelves to serve as sort of markers for the start and end of each letter’s section in the larger throng. And, rather than just placing these little piles loose on the shelf, I decided to make little cardboard files for them, like \u003ca href=\"http://www.instructables.com/id/Homemade-Cardboard-Magazine-Box/\">the ones you get for magazines\u003c/a> but smaller. That way I can stick little letters on the front too, and … Oh my god. Is this going too far? \u003c/p>\n\u003cp>That’s the problem with organization: knowing where to stop. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I love my record collection, and I’m pretty sure it loves me. Sure, we’ve had our occasional ups and downs over the years, particularly after I’ve said something thoughtless and stupid like “you’ve got to slim down a bit.” Fortunately, we learned from our mistakes and in the end these hard times only made our bond stronger. But then, in April 2007, things changed.\u003c/p>\n\u003cp>At first I thought my trip to the United States was going to be temporary and we would only be apart for a few months. Then, when I decided to stay here, the months stretched out to more than a year. I’ve got to be honest, it put serious strain on both of us. I even began flirting with new CDs and records here in the U.S. while my collection, my REAL collection, languished neglected in my mother’s attic in Edinburgh.\u003c/p>\n\u003cp>But a couple of months ago, after \u003ca href=\"http://scribacious.blogspot.com/2008/03/small-world.html\" target=\"offsite\" rel=\"noopener\">an arduous 10,000-mile journey by sea\u003c/a>, my music finally joined me here in San Francisco. And that’s when the real work started. Sure, my records hadn’t changed much, but I had gotten married and moved in with my new wife. Plus I had left all of my furniture in the UK, so I now had none of the cases or boxes my record collection used to call home.\u003c/p>\n\u003cp>Rather than pretend nothing had happened, we decided to make a fresh start. Our first step was to visit the wonderful \u003ca href=\"http://www.fentonmaclaren.com/\" target=\"offsite\" rel=\"noopener\">Fenton MacLaren unfinished furniture store\u003c/a> in Berkeley, which sells inexpensive pine shelving units designed to fit CDs, DVDs, records, or books. If their standard sizes don’t work for you, then you can do what I did and have a unit custom-built to your own measurements for not much extra cost.\u003c/p>\n\u003cp>Next came the dreaded question: how to organize it all? With a total of around 1,000 CDs, I realized that I couldn’t just fill the shelves and hope for the best. They had to be sorted in a way that made sense not just to me but to my new wife as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past I operated a system loosely based on the “cream rises” principle: if you simply stack CDs back on top of each other after you listen to them, less-popular discs will tend to sink to the bottom of the heap, while your favorites will stay nearer the top where they’re easier to get at. I also grouped discs in piles that corresponded loosely to genre, although some of these were admittedly looser than others. My jazz section, for example, would have been obvious to anyone, but the fine line between the subsections devoted to “miserable music” and “CDs to drunkenly fall asleep to” probably wouldn’t have made sense to anyone but myself.\u003c/p>\n\u003cp>The solution to this organizational conundrum was to do something so drastic it still makes me slightly nauseous to even talk about: I alphabeticized my entire collection.\u003c/p>\n\u003cp>(A quick technical note: I ordered by artist name, with solo acts filed by surname. I haven’t been too strict about it though, for example sticking \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=18863\">Bill Callahan\u003c/a>‘s solo album next to his recordings as Smog.)\u003c/p>\n\u003cp>You may be wondering why I don’t just get with the 21st century and import all the CDs onto my computer. The truth is I don’t have nearly enough space on my hard disk and, even if I did, it would take me far longer to rip them all than it has done to simply organize them a bit. Plus, I like browsing through physical piles of CDs and records. They have details such as price tags on the cases that remind me where I was when I bought them, or stains on the sleeves from that party where I dropped a beer into my record bag. At the risk of sounding like an over-romantic luddite, you don’t get that from iTunes.\u003c/p>\n\u003cp>One added bonus I gained from the process, other than learning that I have a surprising number of recordings by artists whose names start with P, was that finally I was forced to do something about all those CDs that have thin, sleeve-like covers (mainly singles, promos, and CD-Rs) rather than proper plastic jewel cases with a legible spine. Previously, I had kept them all together in one big, impenetrable bunch, and had rarely bothered searching through them. Now, that was going to change.\u003c/p>\n\u003cp>But how to organize these slim-sided treasures? Mixing them individually with the rest wouldn’t be much of an improvement as they’d be pretty much invisible next to their thicker-cased cousins. Instead, I decided to create groups of them corresponding to each letter of the alphabet, then place these on the shelves to serve as sort of markers for the start and end of each letter’s section in the larger throng. And, rather than just placing these little piles loose on the shelf, I decided to make little cardboard files for them, like \u003ca href=\"http://www.instructables.com/id/Homemade-Cardboard-Magazine-Box/\">the ones you get for magazines\u003c/a> but smaller. That way I can stick little letters on the front too, and … Oh my god. Is this going too far? \u003c/p>\n\u003cp>That’s the problem with organization: knowing where to stop. My record collection used to be an organic mess, one which reflected my eclectic, ever-evolving tastes; now it looks neat and tidy, like an accountant’s sock drawer. Sure I feel organized, but I also feel slightly soiled by the whole process. The next thing you know I’ll be one of those people who has a motorized tie holder in their closet. Is this who I want to be?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I only hope my record collection can forgive me, once again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The melodic folk-rock songwriting of Two Sheds has impressed us since we first heard their terrific debut \u003cb>Strange Ammunition\u003c/b> a couple years ago. At that time, the group resided in Sacramento, where husband and wife duo Caitlin and John Gutenberger still live, but with two band members now based in the City and frequent performances here, we’re proud to consider them rising stars in the Bay Area indie music scene. We certainly aren’t the only ones, as the group’s local profile has been aided by some supportive bands and bloggers.\u003c/p>\n\u003cp>It was a bit disarming to learn that this is Caitlin’s first band, and even more unsettling to find out that the singer-guitarist began writing songs just four years ago. Already, it seems she’s able to build both quiet, moody pieces and up-tempo rockers, while the band’s mix of folk, rock, pop and Americana stays uncluttered, raw, and beautiful. With a new self-titled EP released in May 2008 on the Fllter label and scattered touring throughout the summer and fall, Two Sheds is poised to reach an even bigger audience, and that’s a development we eagerly await.\u003c/p>\n\u003cp>We sat down with Caitlin and John a few weeks ago to discuss their new release, the group’s origins, and life and music in Sacramento. Along with the interview, the episode features two songs from the new EP and two from \u003cb>Strange Ammunition\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, August 14th\u003cbr>Sophia’s Thai Kitchen (Davis, CA)\u003cbr>with Or, the Whale\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Friday, August 15th\u003cbr>The Blackwater Cafe (Stockton, CA)\u003cbr>with Birds Batteries\u003cbr>8pm, $tba\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thursday, August 21st\u003cbr>Cafe du Nord\u003cbr>with Jackpot, Kings Queens and Bark Hide and Horn\u003cbr>9pm, $10\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The melodic folk-rock songwriting of Two Sheds has impressed us since we first heard their terrific debut \u003cb>Strange Ammunition\u003c/b> a couple years ago. At that time, the group resided in Sacramento, where husband and wife duo Caitlin and John Gutenberger still live, but with two band members now based in the City and frequent performances here, we’re proud to consider them rising stars in the Bay Area indie music scene. We certainly aren’t the only ones, as the group’s local profile has been aided by some supportive bands and bloggers.\u003c/p>\n\u003cp>It was a bit disarming to learn that this is Caitlin’s first band, and even more unsettling to find out that the singer-guitarist began writing songs just four years ago. Already, it seems she’s able to build both quiet, moody pieces and up-tempo rockers, while the band’s mix of folk, rock, pop and Americana stays uncluttered, raw, and beautiful. With a new self-titled EP released in May 2008 on the Fllter label and scattered touring throughout the summer and fall, Two Sheds is poised to reach an even bigger audience, and that’s a development we eagerly await.\u003c/p>\n\u003cp>We sat down with Caitlin and John a few weeks ago to discuss their new release, the group’s origins, and life and music in Sacramento. Along with the interview, the episode features two songs from the new EP and two from \u003cb>Strange Ammunition\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, August 14th\u003cbr>Sophia’s Thai Kitchen (Davis, CA)\u003cbr>with Or, the Whale\u003cbr>10pm, $tba\u003c/p>\n\u003cp>Friday, August 15th\u003cbr>The Blackwater Cafe (Stockton, CA)\u003cbr>with Birds Batteries\u003cbr>8pm, $tba\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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