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"content": "\u003cp>The nationwide decline of public school arts programs due to budget shortfalls is one of those perplexing tragedies of public administration which finds few supporters and fewer explanations. While there doesn’t seem to be any prospect of this trend reversing, an alternative to school-sponsored music performance and education programs is emerging from a group long ignored in the schools — rock musicians.\u003c/p>\n\u003cp>Aspiring young Bay Area rockers are no longer relegated to bedrooms and basements, with a number of established and emerging groups offering year-round classes and summer camps dedicated to teaching songwriting and music performance far afield of the traditional school orchestras and jazz bands. \u003ca href=\"http://www.schoolofrock.com/\" target=\"offsite\" rel=\"noopener\">The Paul Green School of Rock\u003c/a> is the oldest and probably most famous of these groups, with its founder credited as an inspiration for the popular movie \u003cb>School of Rock\u003c/b>, but each organization has a unique model for youth education, including the \u003cb>Bay Area Girls Rock Camp\u003c/b>, which runs Monday through Friday this week at the \u003ca href=\"http://www.juliamorganschool.org/\" target=\"offsite\" rel=\"noopener\">Julia Morgan School for Girls\u003c/a> in Oakland.\u003c/p>\n\u003cp>This is the inaugural year for the Bay Area camp, a program for young women ages 8 to 18. Each girl picks an instrument before arriving (guitar, bass, keyboards, drums, or vocals), with no prior musical experience necessary, and forms a band on the first day. Led by a staff of volunteers, the campers then spend the next week taking songwriting classes and holding practices for their new groups.\u003c/p>\n\u003cp>The program draws inspiration from the acclaimed \u003ca href=\"http://www.girlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">Rock ‘n’ Roll Camp for Girls\u003c/a> in Portland, Oregon, at which several BAGRC founders had worked in previous years. As profiled in the documentary \u003cb>Girls Rock!\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=22404\">read a review\u003c/a>), the Rock ‘n’ Roll Camp was founded in 2001 to fight the barriers facing young women who want to be involved in music, including the continued sexist representations and corresponding lack of empowering female role models in popular music. The Bay Area founders share these goals, explaining on their web site that the organization “strives to challenge gender stereotypes, encourage collaboration and tolerance among peers, and provide a comfortable space for people of all backgrounds to express themselves. Through music lessons, workshops, group activities and performance, girls acquire skills that will help guide them throughout their lives.”\u003c/p>\n\u003cp>While its message remains focused on cultivating an environment of creativity and support, the idea of a rock camp for girls by necessity confronts an ugly truth about indie music, that much like the mainstream corporate music industry, the indie world remains dominated by male musicians, industry members and journalists. It’s therefore encouraging to see that \u003ca href=\"http://www.girlsrockmovie.com/special/rockcamp\" target=\"offsite\" rel=\"noopener\">similarly minded girls’ rock camps\u003c/a> are operating in eight states, England and Sweden, with a number of other camps scheduled to open in the near future. If it’s too much to hope that this movement helps stop the gender imbalance in rock music, it’s at least nice to know that the participating children are getting the opportunity to express themselves musically in a supportive, educational environment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the young rockers practice all week, the camp culminates, naturally, in a live show at Bottom of the Hill in San Francisco. The show featured thirteen camp-formed bands each playing one original song written during the week. While it is too late to join the current camp, you can find out more about the camp’s \u003ca href=\"http://www.bayareagirlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">activities and plans for 2009 sessions\u003c/a> at BayAreaGirlsRockCamp.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nationwide decline of public school arts programs due to budget shortfalls is one of those perplexing tragedies of public administration which finds few supporters and fewer explanations. While there doesn’t seem to be any prospect of this trend reversing, an alternative to school-sponsored music performance and education programs is emerging from a group long ignored in the schools — rock musicians.\u003c/p>\n\u003cp>Aspiring young Bay Area rockers are no longer relegated to bedrooms and basements, with a number of established and emerging groups offering year-round classes and summer camps dedicated to teaching songwriting and music performance far afield of the traditional school orchestras and jazz bands. \u003ca href=\"http://www.schoolofrock.com/\" target=\"offsite\" rel=\"noopener\">The Paul Green School of Rock\u003c/a> is the oldest and probably most famous of these groups, with its founder credited as an inspiration for the popular movie \u003cb>School of Rock\u003c/b>, but each organization has a unique model for youth education, including the \u003cb>Bay Area Girls Rock Camp\u003c/b>, which runs Monday through Friday this week at the \u003ca href=\"http://www.juliamorganschool.org/\" target=\"offsite\" rel=\"noopener\">Julia Morgan School for Girls\u003c/a> in Oakland.\u003c/p>\n\u003cp>This is the inaugural year for the Bay Area camp, a program for young women ages 8 to 18. Each girl picks an instrument before arriving (guitar, bass, keyboards, drums, or vocals), with no prior musical experience necessary, and forms a band on the first day. Led by a staff of volunteers, the campers then spend the next week taking songwriting classes and holding practices for their new groups.\u003c/p>\n\u003cp>The program draws inspiration from the acclaimed \u003ca href=\"http://www.girlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">Rock ‘n’ Roll Camp for Girls\u003c/a> in Portland, Oregon, at which several BAGRC founders had worked in previous years. As profiled in the documentary \u003cb>Girls Rock!\u003c/b> (\u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=22404\">read a review\u003c/a>), the Rock ‘n’ Roll Camp was founded in 2001 to fight the barriers facing young women who want to be involved in music, including the continued sexist representations and corresponding lack of empowering female role models in popular music. The Bay Area founders share these goals, explaining on their web site that the organization “strives to challenge gender stereotypes, encourage collaboration and tolerance among peers, and provide a comfortable space for people of all backgrounds to express themselves. Through music lessons, workshops, group activities and performance, girls acquire skills that will help guide them throughout their lives.”\u003c/p>\n\u003cp>While its message remains focused on cultivating an environment of creativity and support, the idea of a rock camp for girls by necessity confronts an ugly truth about indie music, that much like the mainstream corporate music industry, the indie world remains dominated by male musicians, industry members and journalists. It’s therefore encouraging to see that \u003ca href=\"http://www.girlsrockmovie.com/special/rockcamp\" target=\"offsite\" rel=\"noopener\">similarly minded girls’ rock camps\u003c/a> are operating in eight states, England and Sweden, with a number of other camps scheduled to open in the near future. If it’s too much to hope that this movement helps stop the gender imbalance in rock music, it’s at least nice to know that the participating children are getting the opportunity to express themselves musically in a supportive, educational environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the young rockers practice all week, the camp culminates, naturally, in a live show at Bottom of the Hill in San Francisco. The show featured thirteen camp-formed bands each playing one original song written during the week. While it is too late to join the current camp, you can find out more about the camp’s \u003ca href=\"http://www.bayareagirlsrockcamp.org/\" target=\"offsite\" rel=\"noopener\">activities and plans for 2009 sessions\u003c/a> at BayAreaGirlsRockCamp.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Is director Bill English crazy — or simply just ambitious enough?\u003c/p>\n\u003cp>For some reason, the SF Playhouse’s Artistic Director decided to rehearse a cast of mostly part-time actors to put on the stage version of John Kander and Fred Ebb’s legendary \u003cb>Cabaret\u003c/b> in four short weeks. But they’ve done it. In fact, it’s a testament to San Francisco’s downtown theatre scene that the Playhouse pulled off an impressive interpretation that spotlights some of the best of this city’s talent.\u003c/p>\n\u003cp>Make no mistake — producing this play is a serious task. Consider its legacy: over 42 years, five major revivals (two Broadway, three West End), and an Oscar-winning film adaptation that sealed the fame of Liza Minnelli and Joel Grey, \u003cb>Cabaret\u003c/b> has become an institution. Thankfully, the mercilessly short prep time didn’t prevent the Playhouse cast and crew from producing a deft, passionate interpretation that brought the sold-out house to its feet.\u003c/p>\n\u003cp>Set in Berlin in 1930 during the Nazis’ rise to power, \u003cb>Cabaret\u003c/b> centers itself at the decadent Kit Kat Klub and focuses on two doomed love stories. One of these is between British cabaret performer Sally Bowles (played by the director’s daughter Lauren English) and newly arrived young American writer, Cliff Bradshaw (Daniel Krueger); the other is between German boarding house owner Fräulein Schneider (Karen Grassle, who played Ma in the ’70s TV series \u003cb>Little House on the Prairie\u003c/b>) and elderly Jewish fruit vendor Herr Schultz (Louis Parnell). Key to the play is the Emcee character — played by the inimitable Bryan Yates Sharber — a one-man Greek chorus who presents the performances at the Kit Kat as prescient commentary on the state of society in Weimar Germany. \u003c/p>\n\u003cp>English smartly takes his cue from the two ’90s London revivals directed by Sam Mendes, which among other things results in a more sexualized take on the book — one that highlights Cliff’s bisexuality and includes boys among the Kit Kat girls. The choreography for the Kit Kat numbers is heaped with polyamorous crotch-grinding and ass-slapping, an extra touch of bawdiness that works well both for its own sake and in contrast to the tenderness of the older couple.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also like Mendes, English resourcefully uses the musical talents of many of his cast members in the 8-person Kit Kat band, resulting in brilliant moments like Sharber being tossed his clarinet to vamp on eight quick bars in the middle of the tune “Money.”\u003c/p>\n\u003cp>With such a squeezed schedule in front of him, English made crucial casting decisions for the Emcee and Bowles characters. Grey’s ownership of the Emcee role in the original Broadway show has made later interpretations by stars like John Stamos and Neil Patrick Harris seem like well-crafted clonings. But rather than mimicking Grey’s famously mincing, marionette-ish persona, Sharber projects a brassy, physical, almost lion-like character, and pulls off both lusty song-and-dance numbers and ominous narration with aplomb.\u003c/p>\n\u003cp>Of course, a successful \u003cb>Cabaret\u003c/b> depends on a larger-than-life Sally Bowles, and Lauren English indubitably delivers the goods. As an actor and singer, she’s definitely got the personality to fit such a wide-ranging role. Both her wonderful smirk in “Don’t Tell Mama” and the genuine hysteria she injects into the tragic title tune speak volumes of her capability, and she’s an excellent counterpoint to Krueger’s skillful take on the anxious Cliff.\u003c/p>\n\u003cp>Finally, English’s production team has truly sealed \u003cb>Cabaret\u003c/b>‘s success. Tatjana Genser’s versatile stage management showed a real instinct for economizing space, while both Valera Coble’s costuming (especially the simple black-and-red outfits in “Two Ladies”) and Mike Oesch’s intuitive lighting design amplified both the show’s glitz and its sense of tragic irony.\u003c/p>\n\u003cp>Yes, on paper, English’s scheduling for \u003cb>Cabaret\u003c/b> does seem mad. But on stage, it’s simply excellent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret\u003c/b> is playing at the SF Playhouse. For \u003ca href=\"http://www.sfplayhouse.org/season0708/cabaret.php\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sfplayhouse.org or call 415-677-9596.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also like Mendes, English resourcefully uses the musical talents of many of his cast members in the 8-person Kit Kat band, resulting in brilliant moments like Sharber being tossed his clarinet to vamp on eight quick bars in the middle of the tune “Money.”\u003c/p>\n\u003cp>With such a squeezed schedule in front of him, English made crucial casting decisions for the Emcee and Bowles characters. Grey’s ownership of the Emcee role in the original Broadway show has made later interpretations by stars like John Stamos and Neil Patrick Harris seem like well-crafted clonings. But rather than mimicking Grey’s famously mincing, marionette-ish persona, Sharber projects a brassy, physical, almost lion-like character, and pulls off both lusty song-and-dance numbers and ominous narration with aplomb.\u003c/p>\n\u003cp>Of course, a successful \u003cb>Cabaret\u003c/b> depends on a larger-than-life Sally Bowles, and Lauren English indubitably delivers the goods. As an actor and singer, she’s definitely got the personality to fit such a wide-ranging role. Both her wonderful smirk in “Don’t Tell Mama” and the genuine hysteria she injects into the tragic title tune speak volumes of her capability, and she’s an excellent counterpoint to Krueger’s skillful take on the anxious Cliff.\u003c/p>\n\u003cp>Finally, English’s production team has truly sealed \u003cb>Cabaret\u003c/b>‘s success. Tatjana Genser’s versatile stage management showed a real instinct for economizing space, while both Valera Coble’s costuming (especially the simple black-and-red outfits in “Two Ladies”) and Mike Oesch’s intuitive lighting design amplified both the show’s glitz and its sense of tragic irony.\u003c/p>\n\u003cp>Yes, on paper, English’s scheduling for \u003cb>Cabaret\u003c/b> does seem mad. But on stage, it’s simply excellent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cabaret\u003c/b> is playing at the SF Playhouse. For \u003ca href=\"http://www.sfplayhouse.org/season0708/cabaret.php\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.sfplayhouse.org or call 415-677-9596.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the mid-1990s, a Houston DJ named DJ Screw gained widespread attention for pioneering a unique style of remixing known as “Chopped and Screwed,” in which he would use a turntable to shift an existing rap or R&B song’s pitch significantly downward and drastically slow its tempo. While the pitch adjustment added an unsettling and occasionally menacing effect, the slowed tempos provided an exaggerated abundance of room for the songs to breathe, and sounds or lyrics previously obscured in the mix were unveiled to listeners under the screwed-up microscope. When it worked, it could be moving or downright revelatory.\u003c/p>\n\u003cp>\u003cb>Young Family Song\u003c/b> isn’t a rap album, and it certainly hasn’t been Chopped and Screwed, but San Francisco’s Last of the Blacksmiths filter their folk-rock through a slowed-down approach that similarly maximizes the impact of every detail. The album is the group’s second, following a 2005 self-titled debut which drew numerous favorable reviews comparing them to artists like Son Volt and The Band, from whose \u003cb>Cahoots\u003c/b> album the Blacksmiths draw their name. Beyond the nominal connection, LotB share their predecessors’ love for warm multi-part harmonies and an inclination toward genre-melding jams that incorporate elements of Americana, country, blues and R&B for a sound that feels equally recognizable and unique.\u003c/p>\n\u003cp>Utilizing a diverse arsenal of styles and sounds, the Blacksmiths build and deconstruct some seriously hypnotic grooves. The first song, “Autumn Vacation,” alone has three distinct movements: a lonely piano-backed introduction, which morphs into a slowcore-touched rock ballad, and then into a horn-punctuated swell. Others aren’t quite as structurally ambitious, but their moments work just as well, like the beautiful guitar solo that closes “The Records,” or the evolving interplay between guitar and organ throughout “Beard Tongues.” Things remain pretty stripped-down throughout, but the Blacksmiths have the skill to make each subtle shift matter.\u003c/p>\n\u003cp>While the music is moody, the alternating feelings of mournful and wistful reflection that pervade are driven by the lyrics, through which the band looks back on once-loved records and once-loved lovers with an eye for fragmentary moments and details. The vocals weave in and out of the music, sometimes lost in the sound, or soaring through some beautiful, fragile harmonies. On “Giving Up,” perhaps the album’s most fully realized distillation of R&B mixed with droning rock, the singer’s caution that he’s not giving up on his lost love floats vulnerably above the thick bass and organ tones that cement the mood.\u003c/p>\n\u003cp>There are a number of hummable and more immediately accessible moments on this album too, but I think it’s best to give \u003cb>Young Family Song\u003c/b> a close listen and just get lost in it, as every spin seems to reveal new details to enjoy. That might be too heavy a burden if you’re just looking for some background music, but there’s a real joy to continuing to unfold new layers from this album, and I don’t expect to have it fully figured out any time soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last of the Blacksmiths will be performing on Thursday, July 3, 2008 at \u003ca href=\"http://www.12galaxies.com/\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> alongside Raleigh band \u003ca href=\"http://www.myspace.com/megafaun\" target=\"offsite\" rel=\"noopener\">Megafaun\u003c/a> and an artist to be announced. To purchase \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=26063\">advance tickets\u003c/a> visit 12galaxies.inticketing.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the mid-1990s, a Houston DJ named DJ Screw gained widespread attention for pioneering a unique style of remixing known as “Chopped and Screwed,” in which he would use a turntable to shift an existing rap or R&B song’s pitch significantly downward and drastically slow its tempo. While the pitch adjustment added an unsettling and occasionally menacing effect, the slowed tempos provided an exaggerated abundance of room for the songs to breathe, and sounds or lyrics previously obscured in the mix were unveiled to listeners under the screwed-up microscope. When it worked, it could be moving or downright revelatory.\u003c/p>\n\u003cp>\u003cb>Young Family Song\u003c/b> isn’t a rap album, and it certainly hasn’t been Chopped and Screwed, but San Francisco’s Last of the Blacksmiths filter their folk-rock through a slowed-down approach that similarly maximizes the impact of every detail. The album is the group’s second, following a 2005 self-titled debut which drew numerous favorable reviews comparing them to artists like Son Volt and The Band, from whose \u003cb>Cahoots\u003c/b> album the Blacksmiths draw their name. Beyond the nominal connection, LotB share their predecessors’ love for warm multi-part harmonies and an inclination toward genre-melding jams that incorporate elements of Americana, country, blues and R&B for a sound that feels equally recognizable and unique.\u003c/p>\n\u003cp>Utilizing a diverse arsenal of styles and sounds, the Blacksmiths build and deconstruct some seriously hypnotic grooves. The first song, “Autumn Vacation,” alone has three distinct movements: a lonely piano-backed introduction, which morphs into a slowcore-touched rock ballad, and then into a horn-punctuated swell. Others aren’t quite as structurally ambitious, but their moments work just as well, like the beautiful guitar solo that closes “The Records,” or the evolving interplay between guitar and organ throughout “Beard Tongues.” Things remain pretty stripped-down throughout, but the Blacksmiths have the skill to make each subtle shift matter.\u003c/p>\n\u003cp>While the music is moody, the alternating feelings of mournful and wistful reflection that pervade are driven by the lyrics, through which the band looks back on once-loved records and once-loved lovers with an eye for fragmentary moments and details. The vocals weave in and out of the music, sometimes lost in the sound, or soaring through some beautiful, fragile harmonies. On “Giving Up,” perhaps the album’s most fully realized distillation of R&B mixed with droning rock, the singer’s caution that he’s not giving up on his lost love floats vulnerably above the thick bass and organ tones that cement the mood.\u003c/p>\n\u003cp>There are a number of hummable and more immediately accessible moments on this album too, but I think it’s best to give \u003cb>Young Family Song\u003c/b> a close listen and just get lost in it, as every spin seems to reveal new details to enjoy. That might be too heavy a burden if you’re just looking for some background music, but there’s a real joy to continuing to unfold new layers from this album, and I don’t expect to have it fully figured out any time soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last of the Blacksmiths will be performing on Thursday, July 3, 2008 at \u003ca href=\"http://www.12galaxies.com/\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> alongside Raleigh band \u003ca href=\"http://www.myspace.com/megafaun\" target=\"offsite\" rel=\"noopener\">Megafaun\u003c/a> and an artist to be announced. To purchase \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=26063\">advance tickets\u003c/a> visit 12galaxies.inticketing.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com/\" target=\"offsite\" rel=\"noopener\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So much of listening to music is about context. The same tune can sound completely different depending on where, when, and how you hear it. Equally, there is some music for which such petty considerations fade, music so ubiquitous it’s virtually timeless and placeless.\u003c/p>\n\u003cp>For example, I can’t remember the first time I heard a Bob Dylan record. His music seems to have always just been there, to exist on a higher plane, untouched by mere day-to-day circumstance. Which is not to say that context has disappeared entirely, just that it takes some major shift to make music like this seem new, to let you hear it with fresh ears.\u003c/p>\n\u003cp>Luckily, it turns out that moving from Britain to the United States has given me exactly that kind of jolt. Since arriving in San Francisco just over a year ago, I’ve been given a whole new perspective on the American music I once heard from afar, particularly artists such as Dylan whose music is steeped in the history of the place.\u003c/p>\n\u003cp>What was once vague and distant, like a half-remembered story from my youth, has been reinvented as something rooted in a specific place, much more real, concrete, and suddenly relevant.\u003c/p>\n\u003cp>Which got me to thinking, what precisely is Americana? It is a hard concept to pin down. But that’s also one of the things that makes American music so fascinating, as these three recent albums demonstrate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.lauracantrell.com/\" target=\"offsite\" rel=\"noopener\">Laura Cantrell\u003c/a>: \u003cb>Planes And Boats And Trains\u003c/b>\u003c/p>\n\u003cp>Nashville-born New Yorker Cantrell pulls off the remarkable trick of reminding us what’s great about country music while simultaneously helping us forget all that’s bad about most of its modern incarnations. Better still, she steers us on this path with such an easy grace that you almost don’t realize it’s happening.\u003c/p>\n\u003cp>Her latest download-only album of covers is based around the theme of travel, so it was fitting to first hear it while driving through the countryside around Tahoe. In a place like that, Cantrell’s elegant, bewitching voice singing “The legend lives on from the Chippewa on down / Of the big lake they call Gitche Gumee” makes perfect sense. The effect is, like the landscape in that part of Northern California, both delightful and dramatic.\u003c/p>\n\u003cp>The songs are drawn from disparate sources, ranging from the predictable (folk legend Gordon Lightfoot’s “Wreck Of The Edmund Fitzgerald,” quoted above), to the unexpected (a haunting version of New Order’s “Love Vigilantes”). But none seem odd or forced, including the title track, a perfectly weighted take on the Bacharach and David song, which brings out its delicate emotion without ever turning saccharine.\u003c/p>\n\u003cp>\u003cb>Trains and Boats and Planes\u003c/b> is available for download from iTunes, Amazon, and eMusic.\u003c/p>\n\u003cp>\u003ca href=\"http://www.blindwillies.net/\" target=\"offsite\" rel=\"noopener\">Blind Willies\u003c/a>: \u003cb>Everybody’s Looking For A Meal\u003c/b>\u003c/p>\n\u003cp>Imagine the White Stripes driven by the fevered folk of Leadbelly and Woody Guthrie, and you might get some idea of where the Blind Willies are coming from. Duo Annie Staninec and Alexei Wajchman have brought a punky attitude to bear on songs whose templates have long histories.\u003c/p>\n\u003cp>Alexei’s voice drawls and snarls over agitated guitar, while Annie’s fiddle playing gives the music it’s whirling, devilish heart. Like Meg and Jack before them, they combine to create a sound bigger than the mere sum of their parts. High points include the rich, sneering sarcasm of “Mom Says No,” the bluesy, Jagger-esque swagger of “Shark Out of Water,” and the dark gypsy sorcery of “Sinners Medley.” \u003c/p>\n\u003cp>The line between the past and present is muddied in the melée: You can as easily imagine “If You Was a Good Pimp” being penned in a dingy prohibition-era juke joint as by Snoop Dogg. It’s this sound, of traditional music being seized by musicians with new, fiercely held ideas of their own, that makes this album so invigorating.\u003c/p>\n\u003cp>\u003cb>Everybody’s Looking for a Meal\u003c/b> is out now on \u003ca href=\"http://www.blindwillies.net/store.html\" target=\"offsite\" rel=\"noopener\">Diggory Records\u003c/a>. Blind Willies are currently touring the western states, with details available \u003ca href=\"http://www.blindwillies.net/gigsandnews.html\" target=\"offsite\" rel=\"noopener\">on their website\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.boniver.org/\" target=\"offsite\" rel=\"noopener\">Bon Iver\u003c/a>: \u003cb>For Emma, Forever Ago\u003c/b>\u003c/p>\n\u003cp>Bon Iver started building a steady snowstorm of praise for their debut album even before it was released early this year. However, despite the presence of some twanging banjo, it isn’t exactly typical Americana. It sounds more like a downtempo, acoustic version of a \u003ca href=\"http://www.tvontheradio.com/\" target=\"offsite\" rel=\"noopener\">TV on the Radio\u003c/a> album, if you can imagine such a thing. There are modern rhythms (the subtle, insistent electronic thump that drives “Lump Sum”); unusual arrangements (“The Wolves Acts I & II,” which starts with a simple strumming guitar, but ends up tripping and clattering in all sorts of directions); and, all the while, multitracked falsetto vocals that reach for notes and emotions far beyond the typical range.\u003c/p>\n\u003cp>Despite all this, it’s also unmistakeably American and rural; it is Americana in the simple sense that it couldn’t have been recorded anywhere else. The album is the result of three months Justin Vernon, the band’s creative force, spent writing and recording in a cabin during the remote desolation of a Wisconsin winter. It is no surprise, then, that it is filled with isolated longing and space, as well as a wonderful, raw honesty on tracks such as “Skinny Love” and “Creature Fear.” It is an album to treasure, wherever you are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>For Emma, Forever Ago\u003c/b> is out now on \u003ca href=\"http://www.jagjaguwar.com/\" target=\"offsite\" rel=\"noopener\">Jagjaguwar\u003c/a>. Bon Iver play the \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"offsite\" rel=\"noopener\">Outside Lands\u003c/a> festival in San Francisco’s Golden Gate Park on 24 August.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So much of listening to music is about context. The same tune can sound completely different depending on where, when, and how you hear it. Equally, there is some music for which such petty considerations fade, music so ubiquitous it’s virtually timeless and placeless.\u003c/p>\n\u003cp>For example, I can’t remember the first time I heard a Bob Dylan record. His music seems to have always just been there, to exist on a higher plane, untouched by mere day-to-day circumstance. Which is not to say that context has disappeared entirely, just that it takes some major shift to make music like this seem new, to let you hear it with fresh ears.\u003c/p>\n\u003cp>Luckily, it turns out that moving from Britain to the United States has given me exactly that kind of jolt. Since arriving in San Francisco just over a year ago, I’ve been given a whole new perspective on the American music I once heard from afar, particularly artists such as Dylan whose music is steeped in the history of the place.\u003c/p>\n\u003cp>What was once vague and distant, like a half-remembered story from my youth, has been reinvented as something rooted in a specific place, much more real, concrete, and suddenly relevant.\u003c/p>\n\u003cp>Which got me to thinking, what precisely is Americana? It is a hard concept to pin down. But that’s also one of the things that makes American music so fascinating, as these three recent albums demonstrate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.lauracantrell.com/\" target=\"offsite\" rel=\"noopener\">Laura Cantrell\u003c/a>: \u003cb>Planes And Boats And Trains\u003c/b>\u003c/p>\n\u003cp>Nashville-born New Yorker Cantrell pulls off the remarkable trick of reminding us what’s great about country music while simultaneously helping us forget all that’s bad about most of its modern incarnations. Better still, she steers us on this path with such an easy grace that you almost don’t realize it’s happening.\u003c/p>\n\u003cp>Her latest download-only album of covers is based around the theme of travel, so it was fitting to first hear it while driving through the countryside around Tahoe. In a place like that, Cantrell’s elegant, bewitching voice singing “The legend lives on from the Chippewa on down / Of the big lake they call Gitche Gumee” makes perfect sense. The effect is, like the landscape in that part of Northern California, both delightful and dramatic.\u003c/p>\n\u003cp>The songs are drawn from disparate sources, ranging from the predictable (folk legend Gordon Lightfoot’s “Wreck Of The Edmund Fitzgerald,” quoted above), to the unexpected (a haunting version of New Order’s “Love Vigilantes”). But none seem odd or forced, including the title track, a perfectly weighted take on the Bacharach and David song, which brings out its delicate emotion without ever turning saccharine.\u003c/p>\n\u003cp>\u003cb>Trains and Boats and Planes\u003c/b> is available for download from iTunes, Amazon, and eMusic.\u003c/p>\n\u003cp>\u003ca href=\"http://www.blindwillies.net/\" target=\"offsite\" rel=\"noopener\">Blind Willies\u003c/a>: \u003cb>Everybody’s Looking For A Meal\u003c/b>\u003c/p>\n\u003cp>Imagine the White Stripes driven by the fevered folk of Leadbelly and Woody Guthrie, and you might get some idea of where the Blind Willies are coming from. Duo Annie Staninec and Alexei Wajchman have brought a punky attitude to bear on songs whose templates have long histories.\u003c/p>\n\u003cp>Alexei’s voice drawls and snarls over agitated guitar, while Annie’s fiddle playing gives the music it’s whirling, devilish heart. Like Meg and Jack before them, they combine to create a sound bigger than the mere sum of their parts. High points include the rich, sneering sarcasm of “Mom Says No,” the bluesy, Jagger-esque swagger of “Shark Out of Water,” and the dark gypsy sorcery of “Sinners Medley.” \u003c/p>\n\u003cp>The line between the past and present is muddied in the melée: You can as easily imagine “If You Was a Good Pimp” being penned in a dingy prohibition-era juke joint as by Snoop Dogg. It’s this sound, of traditional music being seized by musicians with new, fiercely held ideas of their own, that makes this album so invigorating.\u003c/p>\n\u003cp>\u003cb>Everybody’s Looking for a Meal\u003c/b> is out now on \u003ca href=\"http://www.blindwillies.net/store.html\" target=\"offsite\" rel=\"noopener\">Diggory Records\u003c/a>. Blind Willies are currently touring the western states, with details available \u003ca href=\"http://www.blindwillies.net/gigsandnews.html\" target=\"offsite\" rel=\"noopener\">on their website\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.boniver.org/\" target=\"offsite\" rel=\"noopener\">Bon Iver\u003c/a>: \u003cb>For Emma, Forever Ago\u003c/b>\u003c/p>\n\u003cp>Bon Iver started building a steady snowstorm of praise for their debut album even before it was released early this year. However, despite the presence of some twanging banjo, it isn’t exactly typical Americana. It sounds more like a downtempo, acoustic version of a \u003ca href=\"http://www.tvontheradio.com/\" target=\"offsite\" rel=\"noopener\">TV on the Radio\u003c/a> album, if you can imagine such a thing. There are modern rhythms (the subtle, insistent electronic thump that drives “Lump Sum”); unusual arrangements (“The Wolves Acts I & II,” which starts with a simple strumming guitar, but ends up tripping and clattering in all sorts of directions); and, all the while, multitracked falsetto vocals that reach for notes and emotions far beyond the typical range.\u003c/p>\n\u003cp>Despite all this, it’s also unmistakeably American and rural; it is Americana in the simple sense that it couldn’t have been recorded anywhere else. The album is the result of three months Justin Vernon, the band’s creative force, spent writing and recording in a cabin during the remote desolation of a Wisconsin winter. It is no surprise, then, that it is filled with isolated longing and space, as well as a wonderful, raw honesty on tracks such as “Skinny Love” and “Creature Fear.” It is an album to treasure, wherever you are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>For Emma, Forever Ago\u003c/b> is out now on \u003ca href=\"http://www.jagjaguwar.com/\" target=\"offsite\" rel=\"noopener\">Jagjaguwar\u003c/a>. Bon Iver play the \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"offsite\" rel=\"noopener\">Outside Lands\u003c/a> festival in San Francisco’s Golden Gate Park on 24 August.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Opera lovers have long wondered about the fuss over Tolkien’s \u003cb>The Lord of the Rings\u003c/b>. Almost a century earlier, Richard Wagner wrote four epic operas in which he told the story of a golden ring that grants great power, but corrupts all who wear it.\u003c/p>\n\u003cp>Now audiences in San Francisco can see if Francesca Zambello’s American-themed \u003cb>Ring of the Nibelung\u003c/b> is worth all the fuss.\u003c/p>\n\u003cp>On Tuesday, the San Francisco Opera premiered Zambello’s first installment, \u003cb>Das Rheingold\u003c/b>, part one of the four-part cycle. The singing was mostly wonderful, but it’s not clear yet, whether Zambello can meld American themes to Wagner’s version of Norse and Germanic myth.\u003c/p>\n\u003cp>Some ideas connect brilliantly. The dwarf Alberich, the Nibelung, comes on stage dressed like a California 49er, toting a pan and pickaxe. The three Rhinemaidens wear girdles and bloomers, like dance hall girls, as they guard their golden hoard in a landscape that seems equal parts Ansel Adams and Albert Bierstadt. Later Alberich guards his treasure at the bottom of a mine, cracking his whip to drive a crew of child miners.\u003c/p>\n\u003cp>Wotan, chief of the gods, dresses like an industrial magnate, in an office that seems vaguely Art Deco, though the spear seems an odd touch for the boardroom. He’s willing to sacrifice his sister-in-law, Freia, and his honor, if he can trick the giants into building his fortress Valhalla (or are they laying the foundations for an American empire?). The giants (and they really are giants — great costumes by Catherine Zuber) are ironworkers. They make their entrance seated on a steel I-beam, descending from a sky filled with cranes and girders. But Freia’s brothers, Donner and Froh, come off as idle playboys, bearing croquet mallets. They’re more Oscar Wilde than Sinclair Lewis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it’s not clear what Roger Hartley, the production designer, has in mind when he projects a planetarium slideshow on a scrim during Wagner’s long, darkly lush overture. I loved the shot of Saturn and its rings, but I’m baffled at how it serves Zambello’s American theme. Projections of boiling clouds and trippy light shows follow during scene changes to equally spectacular but puzzling effect.\u003c/p>\n\u003cp>Still, if the metaphor doesn’t hang together, the opera cooks along, despite its two hour 35 minute running time, without intermission (as tradition demands). Give lots of credit for that to Zambello’s smart direction and the cast’s fine performances.\u003c/p>\n\u003cp>Baritone Richard Paul Fink steals the show as Alberich, combining potent singing with a brilliant physical perfomance that must be exhausting. Tenor Stefan Margita sings the part of Loge with effortless command of the stage. He plays the trickster god as a political fixer with oily assurance.\u003c/p>\n\u003cp>Jennifer Larmore brings a silky tone to the role of Fricka, Wotan’s wife.\u003c/p>\n\u003cp>Catherine Cangiano, Lauren McNeese and Buffy Baggott (all making their San Francisco Opera debut) are a very sexy trio as the Rhinemaidens, teasing Alberich with their lusty promises.\u003c/p>\n\u003cp>Baritone and former Adler fellow, Mark Delavan, seemed stiff and unsure in his debut in the central role of Wotan. But he hits all his notes, and may relax into the part for future performances.\u003c/p>\n\u003cp>Conductor Donald Runnicles holds it all together from the pit, never flagging despite the heavy lifting demanded by Wagner’s rich score.\u003c/p>\n\u003cp>Maybe Zambello will clarify her American themes as the \u003cb>Ring\u003c/b> cycle continues. The company presents \u003cb>Die Walkuere\u003c/b> (or Walküre) in 2010, and the entire cycle in 2011. \u003cb>Das Rheingold\u003c/b>‘s final scene presents Wotan and the other gods climbing the rainbow bridge to their fortress in Valhalla. The bridge, however, looks more like the gangplank of a ship. If Zambello can’t make this work, we may remember the scene as the gods boarding the Titanic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Das Rheingold\u003c/b> runs through June 28, 2008 at the San Francisco Opera. For \u003ca href=\"http://sfopera.com/opera.asp?o=258\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera lovers have long wondered about the fuss over Tolkien’s \u003cb>The Lord of the Rings\u003c/b>. Almost a century earlier, Richard Wagner wrote four epic operas in which he told the story of a golden ring that grants great power, but corrupts all who wear it.\u003c/p>\n\u003cp>Now audiences in San Francisco can see if Francesca Zambello’s American-themed \u003cb>Ring of the Nibelung\u003c/b> is worth all the fuss.\u003c/p>\n\u003cp>On Tuesday, the San Francisco Opera premiered Zambello’s first installment, \u003cb>Das Rheingold\u003c/b>, part one of the four-part cycle. The singing was mostly wonderful, but it’s not clear yet, whether Zambello can meld American themes to Wagner’s version of Norse and Germanic myth.\u003c/p>\n\u003cp>Some ideas connect brilliantly. The dwarf Alberich, the Nibelung, comes on stage dressed like a California 49er, toting a pan and pickaxe. The three Rhinemaidens wear girdles and bloomers, like dance hall girls, as they guard their golden hoard in a landscape that seems equal parts Ansel Adams and Albert Bierstadt. Later Alberich guards his treasure at the bottom of a mine, cracking his whip to drive a crew of child miners.\u003c/p>\n\u003cp>Wotan, chief of the gods, dresses like an industrial magnate, in an office that seems vaguely Art Deco, though the spear seems an odd touch for the boardroom. He’s willing to sacrifice his sister-in-law, Freia, and his honor, if he can trick the giants into building his fortress Valhalla (or are they laying the foundations for an American empire?). The giants (and they really are giants — great costumes by Catherine Zuber) are ironworkers. They make their entrance seated on a steel I-beam, descending from a sky filled with cranes and girders. But Freia’s brothers, Donner and Froh, come off as idle playboys, bearing croquet mallets. They’re more Oscar Wilde than Sinclair Lewis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s not clear what Roger Hartley, the production designer, has in mind when he projects a planetarium slideshow on a scrim during Wagner’s long, darkly lush overture. I loved the shot of Saturn and its rings, but I’m baffled at how it serves Zambello’s American theme. Projections of boiling clouds and trippy light shows follow during scene changes to equally spectacular but puzzling effect.\u003c/p>\n\u003cp>Still, if the metaphor doesn’t hang together, the opera cooks along, despite its two hour 35 minute running time, without intermission (as tradition demands). Give lots of credit for that to Zambello’s smart direction and the cast’s fine performances.\u003c/p>\n\u003cp>Baritone Richard Paul Fink steals the show as Alberich, combining potent singing with a brilliant physical perfomance that must be exhausting. Tenor Stefan Margita sings the part of Loge with effortless command of the stage. He plays the trickster god as a political fixer with oily assurance.\u003c/p>\n\u003cp>Jennifer Larmore brings a silky tone to the role of Fricka, Wotan’s wife.\u003c/p>\n\u003cp>Catherine Cangiano, Lauren McNeese and Buffy Baggott (all making their San Francisco Opera debut) are a very sexy trio as the Rhinemaidens, teasing Alberich with their lusty promises.\u003c/p>\n\u003cp>Baritone and former Adler fellow, Mark Delavan, seemed stiff and unsure in his debut in the central role of Wotan. But he hits all his notes, and may relax into the part for future performances.\u003c/p>\n\u003cp>Conductor Donald Runnicles holds it all together from the pit, never flagging despite the heavy lifting demanded by Wagner’s rich score.\u003c/p>\n\u003cp>Maybe Zambello will clarify her American themes as the \u003cb>Ring\u003c/b> cycle continues. The company presents \u003cb>Die Walkuere\u003c/b> (or Walküre) in 2010, and the entire cycle in 2011. \u003cb>Das Rheingold\u003c/b>‘s final scene presents Wotan and the other gods climbing the rainbow bridge to their fortress in Valhalla. The bridge, however, looks more like the gangplank of a ship. If Zambello can’t make this work, we may remember the scene as the gods boarding the Titanic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Das Rheingold\u003c/b> runs through June 28, 2008 at the San Francisco Opera. For \u003ca href=\"http://sfopera.com/opera.asp?o=258\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>‘s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.\u003c/p>\n\u003cp>The sort-of title track “Wolves” unfolds like a fairytale, using images of innocence to conjur the story of a night out clubbing in some anonymous town. A girl “dancing in a neon cave with a tilted smile and a lover’s laugh” is surrounded by wolves who “can smell the blood on the summer air.” Then, from this forest of metaphor, we circle back to the real world with lyrics that find beauty in the everyday, as the wolves “drink beer from plastic glasses til they find the way to make the first move.”\u003c/p>\n\u003cp>These contradictions, of strong emotions quietly stated, of light and dark, of traditional fable in a modern setting, are just a few of many wrapped up in this release. For example, The Accidental are a British alt-folk supergroup of sorts, but one formed of individuals lurking so far under the radar that the term seems amusingly inappropriate. (For the record, they are: Hannah Caughlin/\u003ca href=\"http://www.myspace.com/thebicyclethieves\" target=\"offsite\" rel=\"noopener\">The Bicycle Thieves\u003c/a>, solo singer/songwriter \u003ca href=\"http://www.myspace.com/liambaileyuk\" target=\"offsite\" rel=\"noopener\">Liam Bailey\u003c/a>, Sam Genders/\u003ca href=\"http://www.tunng.co.uk/\" target=\"offsite\" rel=\"noopener\">Tunng\u003c/a>, and Stephen Cracknell/\u003ca href=\"http://www.thememoryband.com/\" target=\"offsite\" rel=\"noopener\">The Memory Band\u003c/a>. Apologies to any of their lifelong fans.)\u003c/p>\n\u003cp>In the right hands, such mismatches and inconsistencies become happy coincidences. The album came together largely by accident (hence the band’s name) but despite this unplanned conception, and the fact that writing and performing duties switch throughout, the end result is cohesive in tone and structure rather than fractured or rambling as you might expect.\u003c/p>\n\u003cp>And then there are the songs themselves, based on English folk traditions in structure and instrumentation, but recorded with liberal use of subtle loops and samples, most notably on the circular vocals of album opener “Knock Knock” and the quietly insistent rhthym and backing that creeps slowly into the excellent “Illuminated Red.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then, just as modern production techniques and lyrics that talk of “the clock radio by the bed” or “the lights on the stereo” threaten to drag you into the urban now, suddenly birdsong trills in the background of “Jaw of the Whale,” pulling you instead towards some rural idyll of yesterday. It is a reminder that the whole thing was recorded in the relaxed setting of someone’s living room (albeit on a laptop), and that there are no easy pigeonholes here.\u003c/p>\n\u003cp>And, so, quietly, definitely, inexorably, the album takes you deeper into a world that, despite its contradictions, is fully formed and unique, one that could only be made by The Accidental. As they sing themselves on “Time and Space,” the album closer, “To your own self be true.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>There Were Wolves\u003c/b> is released June 3 on \u003ca href=\"http://www.thrilljockey.com/\" target=\"offsite\" rel=\"noopener\">Thrill Jockey\u003c/a>.\u003c/p>\n\n",
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"excerpt": "\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>'s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.theaccidental.co.uk/\" target=\"offsite\" rel=\"noopener\">The Accidental\u003c/a>‘s debut album \u003cb>There Were Wolves\u003c/b> is notably lacking in the volume department. Where others might shout and scream, it speaks in understated acoustic whispers. But listen carefully and you will discover a quiet delight, full of hushed beauty, playful surprises, wide-eyed optimism, and dark menace. In the end, its muted tones amplify rather than muffle its impact.\u003c/p>\n\u003cp>The sort-of title track “Wolves” unfolds like a fairytale, using images of innocence to conjur the story of a night out clubbing in some anonymous town. A girl “dancing in a neon cave with a tilted smile and a lover’s laugh” is surrounded by wolves who “can smell the blood on the summer air.” Then, from this forest of metaphor, we circle back to the real world with lyrics that find beauty in the everyday, as the wolves “drink beer from plastic glasses til they find the way to make the first move.”\u003c/p>\n\u003cp>These contradictions, of strong emotions quietly stated, of light and dark, of traditional fable in a modern setting, are just a few of many wrapped up in this release. For example, The Accidental are a British alt-folk supergroup of sorts, but one formed of individuals lurking so far under the radar that the term seems amusingly inappropriate. (For the record, they are: Hannah Caughlin/\u003ca href=\"http://www.myspace.com/thebicyclethieves\" target=\"offsite\" rel=\"noopener\">The Bicycle Thieves\u003c/a>, solo singer/songwriter \u003ca href=\"http://www.myspace.com/liambaileyuk\" target=\"offsite\" rel=\"noopener\">Liam Bailey\u003c/a>, Sam Genders/\u003ca href=\"http://www.tunng.co.uk/\" target=\"offsite\" rel=\"noopener\">Tunng\u003c/a>, and Stephen Cracknell/\u003ca href=\"http://www.thememoryband.com/\" target=\"offsite\" rel=\"noopener\">The Memory Band\u003c/a>. Apologies to any of their lifelong fans.)\u003c/p>\n\u003cp>In the right hands, such mismatches and inconsistencies become happy coincidences. The album came together largely by accident (hence the band’s name) but despite this unplanned conception, and the fact that writing and performing duties switch throughout, the end result is cohesive in tone and structure rather than fractured or rambling as you might expect.\u003c/p>\n\u003cp>And then there are the songs themselves, based on English folk traditions in structure and instrumentation, but recorded with liberal use of subtle loops and samples, most notably on the circular vocals of album opener “Knock Knock” and the quietly insistent rhthym and backing that creeps slowly into the excellent “Illuminated Red.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then, just as modern production techniques and lyrics that talk of “the clock radio by the bed” or “the lights on the stereo” threaten to drag you into the urban now, suddenly birdsong trills in the background of “Jaw of the Whale,” pulling you instead towards some rural idyll of yesterday. It is a reminder that the whole thing was recorded in the relaxed setting of someone’s living room (albeit on a laptop), and that there are no easy pigeonholes here.\u003c/p>\n\u003cp>And, so, quietly, definitely, inexorably, the album takes you deeper into a world that, despite its contradictions, is fully formed and unique, one that could only be made by The Accidental. As they sing themselves on “Time and Space,” the album closer, “To your own self be true.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>There Were Wolves\u003c/b> is released June 3 on \u003ca href=\"http://www.thrilljockey.com/\" target=\"offsite\" rel=\"noopener\">Thrill Jockey\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Revivalism is an essential component of creating a cultural body of work that spans generations. In the arts, originality is usually crowned king, but reviving and celebrating previous artists might be just as important. Without being influenced by older generations, there would be no canon, no tradition, no common thread tugging artists together into a geist-ridden heap. Which brings me to Cluster. With nearly 40 years of albums behind them, Cluster is a German experimental band without a cohesive sound, but instead a wide-ranging sonic landscape defined as avante-garde and inaccessible to many. But in the pantheon of krautrockers, Cluster is a bright star in its firmament, a group of sonic experimenters whose influence on modern music is being recognized as they kick off a California tour. You can check them out tonight, Friday, May 23, 2008 in Big Sur, Saturday, May 24, in Santa Cruz or Sunday, May 25 at the Great American Music Hall in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cluster got their start at the \u003ca href=\"http://en.wikipedia.org/wiki/Zodiak_Free_Arts_Lab\" target=\"offsite\" rel=\"noopener\">Zodiak Free Arts Lab\u003c/a> in West Berlin in 1969, an experimental live music venue and art collective that lasted only a few months, but played an important role in developing the spacey German sound of krautrock, sometimes called \u003ci>Kosmische Musik\u003c/i>. Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler emerged from the collective as Kluster and went on to release three albums before Schnitzler left the group and the duo re-formed as Cluster. As a trio, the group was highly improvisational with live performances that involved everything from synthesizers to alarm clocks and kitchen utensils. As a duo, Cluster went on to a lengthy career recording albums into the late 1990s that experiment with feedback, ambient sounds, and atmospherics.\u003c/p>\n\u003cp>I got a chance to listen to the 3-CD box set \u003cb>Kluster: 1970-1971\u003c/b>, a compilation of some of Kluster’s earliest works (out this week from the San Francisco-based \u003ca href=\"http://www.runtdistribution.com/water.html\" target=\"offsite\" rel=\"noopener\">Water label\u003c/a>), which was recorded by the band’s first line-up, when Kluster was still spelled with a “K.”\u003c/p>\n\u003cp>I also checked out \u003cb>Cluster 71\u003c/b>, the first recording by the band’s second incarnation. Composed of three tracks named for their lengths, \u003cb>Cluster 71\u003c/b> is a series of aural investigations that feature pulsing synths, drones, and feedback. Sometimes lulling you into a peaceful reverie, sometimes escalating into more urgent sequences with rapid percussive tempos or massively-distorted unease, the album is a feast of German proto-industrial noise that wouldn’t be unusual to find in any modern experimental music venue, like \u003ca href=\"http://www.myspace.com/recombinantmedialabs\" target=\"offsite\" rel=\"noopener\">Recombinant Media Labs\u003c/a> here in San Francisco. The album was the first major label release for Cluster, and forms a distinct phase in their musical evolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Recorded in just two days in 1976, \u003cb>Sowiesoso\u003c/b> features Cluster in a very different place, a much more peaceful, almost orchestral frame of mind. A tinny and twangy tone runs through the album, which features songs with more traditionally song-like qualities, including harmonious chords and recognizable string parts. There is even a tribal and slightly bluesy track called “Umleitung” that features chanting and shouting in combination with a driving beat and even a little cowbell for a more organic feel. It is fitting that “Umleitung” means “re-direction” or “detour” in German, as the entire album is a conceptual departure for Cluster. Brian Eno had worked with Moebius and Roedelius on a different project prior to the recording of \u003cb>Sowiesoso\u003c/b>, and his influence here is evident.\u003c/p>\n\u003cp>The final album in the compilation is \u003cb>Cluster & Eno\u003c/b>, which features Eno’s instantly obvious handprints all over it. An echoey, repeating piano opens the album in fine Eno fashion, eventually giving way to the more somber synth and guitar duet of “Steinsame.” Strongly ambient in quality, \u003cb>Cluster & Eno\u003c/b> continues Cluster’s migration towards a more melodic and accessible direction. The tracks are shorter and more thematically contained, with the final track “Für Luise” one of the standouts. Cluster’s experiments in ambient music continued through the ’90s, ending only when the band took a ten-year hiatus in 1997.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cluster’s upcoming tour is an obvious don’t-miss chance to see the krautrockers in person, performing in their customary improvisational fashion. The 4-date west coast tour on Memorial Day Weekend features shows that are custom curated with a mix of openers, DJs, VJs, apparel artists and great venues (including the legendary Henry Miller library in Big Sur). San Francisco’s turn is on May 25th at the Great American Music Hall with openers Tussle (SF) and White Rainbow (PDX). For \u003ca href=\"http://www.donutsparty.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit donutsparty.com. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Revivalism is an essential component of creating a cultural body of work that spans generations. In the arts, originality is usually crowned king, but reviving and celebrating previous artists might be just as important. Without being influenced by older generations, there would be no canon, no tradition, no common thread tugging artists together into a geist-ridden heap. Which brings me to Cluster. With nearly 40 years of albums behind them, Cluster is a German experimental band without a cohesive sound, but instead a wide-ranging sonic landscape defined as avante-garde and inaccessible to many. But in the pantheon of krautrockers, Cluster is a bright star in its firmament, a group of sonic experimenters whose influence on modern music is being recognized as they kick off a California tour. You can check them out tonight, Friday, May 23, 2008 in Big Sur, Saturday, May 24, in Santa Cruz or Sunday, May 25 at the Great American Music Hall in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cluster got their start at the \u003ca href=\"http://en.wikipedia.org/wiki/Zodiak_Free_Arts_Lab\" target=\"offsite\" rel=\"noopener\">Zodiak Free Arts Lab\u003c/a> in West Berlin in 1969, an experimental live music venue and art collective that lasted only a few months, but played an important role in developing the spacey German sound of krautrock, sometimes called \u003ci>Kosmische Musik\u003c/i>. Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler emerged from the collective as Kluster and went on to release three albums before Schnitzler left the group and the duo re-formed as Cluster. As a trio, the group was highly improvisational with live performances that involved everything from synthesizers to alarm clocks and kitchen utensils. As a duo, Cluster went on to a lengthy career recording albums into the late 1990s that experiment with feedback, ambient sounds, and atmospherics.\u003c/p>\n\u003cp>I got a chance to listen to the 3-CD box set \u003cb>Kluster: 1970-1971\u003c/b>, a compilation of some of Kluster’s earliest works (out this week from the San Francisco-based \u003ca href=\"http://www.runtdistribution.com/water.html\" target=\"offsite\" rel=\"noopener\">Water label\u003c/a>), which was recorded by the band’s first line-up, when Kluster was still spelled with a “K.”\u003c/p>\n\u003cp>I also checked out \u003cb>Cluster 71\u003c/b>, the first recording by the band’s second incarnation. Composed of three tracks named for their lengths, \u003cb>Cluster 71\u003c/b> is a series of aural investigations that feature pulsing synths, drones, and feedback. Sometimes lulling you into a peaceful reverie, sometimes escalating into more urgent sequences with rapid percussive tempos or massively-distorted unease, the album is a feast of German proto-industrial noise that wouldn’t be unusual to find in any modern experimental music venue, like \u003ca href=\"http://www.myspace.com/recombinantmedialabs\" target=\"offsite\" rel=\"noopener\">Recombinant Media Labs\u003c/a> here in San Francisco. The album was the first major label release for Cluster, and forms a distinct phase in their musical evolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Recorded in just two days in 1976, \u003cb>Sowiesoso\u003c/b> features Cluster in a very different place, a much more peaceful, almost orchestral frame of mind. A tinny and twangy tone runs through the album, which features songs with more traditionally song-like qualities, including harmonious chords and recognizable string parts. There is even a tribal and slightly bluesy track called “Umleitung” that features chanting and shouting in combination with a driving beat and even a little cowbell for a more organic feel. It is fitting that “Umleitung” means “re-direction” or “detour” in German, as the entire album is a conceptual departure for Cluster. Brian Eno had worked with Moebius and Roedelius on a different project prior to the recording of \u003cb>Sowiesoso\u003c/b>, and his influence here is evident.\u003c/p>\n\u003cp>The final album in the compilation is \u003cb>Cluster & Eno\u003c/b>, which features Eno’s instantly obvious handprints all over it. An echoey, repeating piano opens the album in fine Eno fashion, eventually giving way to the more somber synth and guitar duet of “Steinsame.” Strongly ambient in quality, \u003cb>Cluster & Eno\u003c/b> continues Cluster’s migration towards a more melodic and accessible direction. The tracks are shorter and more thematically contained, with the final track “Für Luise” one of the standouts. Cluster’s experiments in ambient music continued through the ’90s, ending only when the band took a ten-year hiatus in 1997.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cluster’s upcoming tour is an obvious don’t-miss chance to see the krautrockers in person, performing in their customary improvisational fashion. The 4-date west coast tour on Memorial Day Weekend features shows that are custom curated with a mix of openers, DJs, VJs, apparel artists and great venues (including the legendary Henry Miller library in Big Sur). San Francisco’s turn is on May 25th at the Great American Music Hall with openers Tussle (SF) and White Rainbow (PDX). For \u003ca href=\"http://www.donutsparty.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit donutsparty.com. \u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"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
},
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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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"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": {
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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": {
"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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"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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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