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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If an artists’ collective suggests an insular group of collaborators operating in some isolated or remote universe, that image doesn’t capture a number of musicians’ collectives currently operating in the San Francisco Bay Area. Forsaking insularity, these groups are using the cooperative approach to shed greater visibility upon the talents of all members. It’s a strategy that makes particular sense in an era when young indie bands are increasingly avoiding signing with labels. By sharing traditionally label-driven tasks of promotion, branding, booking, and distribution, many groups are retaining their independence while trying to get their music heard.\u003c/p>\n\u003cp>Founded in 2007 by members of \u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, \u003ca href=\"http://www.myspace.com/lovelikefire\" target=\"offsite\" rel=\"noopener\">LoveLikeFire\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>, \u003ca href=\"http://www.myspace.com/rosehill\" target=\"offsite\" rel=\"noopener\">Rose Hill Collective\u003c/a> is an assembly of talented local bands brought together for collaborative projects like their latest release, a compilation CD titled \u003cb>Rose Hill Collective, Volume 2\u003c/b>. As a multi-band promotional tool, the sampler is a snapshot of an important slice of the Bay Area indie music scene. The participating bands have diverse, individually-developed sounds, and their ranks include a number of the Bay Area’s top local groups, including the anthemic dark rock of LoveLikeFire, the country-influenced balladry of \u003ca href=\"http://www.myspace.com/orthewhale\" target=\"offsite\" rel=\"noopener\">Or, the Whale\u003c/a>, and the layered folk-rock of \u003ca href=\"http://www.myspace.com/nlannon\" target=\"offsite\" rel=\"noopener\">Nyles Lannon\u003c/a>, alongside \u003ca href=\"http://www.myspace.com/hereheremusic\" target=\"offsite\" rel=\"noopener\">Here Here\u003c/a>, \u003ca href=\"http://www.myspace.com/silianrailmusic\" target=\"offsite\" rel=\"noopener\">Silian Rail\u003c/a>, \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster\u003c/a>, \u003ca href=\"http://www.myspace.com/streettonowhere\" target=\"offsite\" rel=\"noopener\">Street to Nowhere\u003c/a>, Built for the Sea, \u003ca href=\"http://www.myspace.com/coldhotcrash\" target=\"offsite\" rel=\"noopener\">Cold Hot Crash\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\" target=\"offsite\" rel=\"noopener\">The Hundred Days\u003c/a>, \u003ca href=\"http://www.myspace.com/overview\" target=\"offsite\" rel=\"noopener\">Overview\u003c/a>, \u003ca href=\"http://www.myspace.com/audryesessions\" target=\"offsite\" rel=\"noopener\">Audrye Sessions\u003c/a>, and \u003ca href=\"http://www.myspace.com/poorbailey\" target=\"offsite\" rel=\"noopener\">Poor Bailey\u003c/a>.\u003c/p>\n\u003cp>The Rose Hill gang celebrates the release of \u003cb>Volume 2\u003c/b> TONIGHT, Saturday, May 17, 2008 at the \u003ca href=\"http://www.gamh.com\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a>. The show is headlined by Built for the Sea, a quartet whose self-titled 2006 album garnished positive reviews for the band’s shoegaze-influenced modern rock and singer Lia Rose’s emotive and melodic vocals. They’ll be joined by Overview, Silian Rail, The Hundred Days, and Cold Hot Crash, along with DJ sets by members of LoveLikeFire and \u003ca href=\"http://www.live105.com\" target=\"offsite\" rel=\"noopener\">Live 105\u003c/a> DJ “Miles the Intern”.\u003c/p>\n\u003cp>Most of the groups on \u003cb>Volume 2\u003c/b> have built their reputations by touring and releasing records without label support. Consistent with that aesthetic, they’ll be giving away copies of the new compilation at Saturday night’s show and on the member bands’ upcoming tours.\u003c/p>\n\u003cp>The concert is $12 and starts at 9pm. You can purchase advance tickets at \u003ca href=\"http://www.gamhtickets.com/evinfo.php?eventid=24375&sid=\" target=\"offsite\" rel=\"noopener\">GamhTickets.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Port O’Brien, claimed by both the Bay Area and the Central Coast as their own, has been continuously growing in popularity as their music moves beyond the college radio curcuit and across the country. The band’s indie-infused folk tunes are painfully catchy, tugging at heart strings and boot straps alike.\u003c/p>\n\u003cp>Port O’Brien’s new album \u003cb>All We Could Do Was Sing\u003c/b> (released Tuesday, May 13, 2008) is a fantastic collection of songs written while the band was living on a fishing boat in Alaska for the summer. The album is exhilarating and refreshing, yet cold and lonely at times, reflecting the idyllic setting in which it was written.\u003c/p>\n\u003cp>The opening track “I Woke Up Today” feels like a modern day “We Will Rock You,” only with a much less forceful message — the kind of tune that you and might sing (or yell) along to while cruising the sidewalks or jumping for joy. These anthemic group vocals have popped up many times in recent indie music, and while it’s not hard to see it getting old, Port O’Brien certainly does it best.\u003c/p>\n\u003cp>It takes a moment to get past some of the clearly out-of-tune (I suppose “dissonant” is a kinder word) vocals in songs like “In Vino Veritas,” but it’s evident that they’re trying to make that a style of sorts — slightly flawed recordings that feel real and not plastic. Listen to it a few times and the tinge of discomfort fades.\u003c/p>\n\u003cp>A highlight of the album is “Close the Lid,” a tune that builds from a simple, stripped-down melody to a danceable, guitar solo-injected rock tune. Some of the lyrics are heart-wrenchingly cute: “I’m not afraid to die / as long as you’re by my side / we can sleep the whole year through.” But this song is the perfect example of the somewhat ambiguous themes that pervade the album — switching between this familiar bliss and the isolation and conflict of being alone: “…we are on the brink / of a long civil war / between my heart and yours / we will fight by ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This ambivalence is repeated many times throughout the album, with a recurring theme of true love conflicted with isolation, cold, and what goes through your mind when your mind is all you’ve got. The effecting melodies and lyrics are supplemented with simple string parts and lots of percussion. On the lighter side of the album is the stunning “Will You Be There,” the kind of achingly sweet song that sticks with you for days.\u003c/p>\n\u003cp>For the live shows, guitarist/vocalist Van Pierszalowski leads the band with an Elvis-like snarl and an excess of charisma. The band’s chemistry and love of the music comes out in full force. They will play their Bay Area record release show at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> this Wednesday, May 14, 2008. They will be joined by Missouri indie pop group \u003ca href=\"http://www.myspace.com/boris\" target=\"_blank\" rel=\"noopener\">Someone Still Loves You, Boris Yeltsin\u003c/a>. For \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=84\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit rickshawstop.com. For more on Port O’Brien, check out \u003ca href=\"http://www.thebaybridged.com/2008/01/15/episode-97-port-obrien/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged podcast\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Port O’Brien, claimed by both the Bay Area and the Central Coast as their own, has been continuously growing in popularity as their music moves beyond the college radio curcuit and across the country. The band’s indie-infused folk tunes are painfully catchy, tugging at heart strings and boot straps alike.\u003c/p>\n\u003cp>Port O’Brien’s new album \u003cb>All We Could Do Was Sing\u003c/b> (released Tuesday, May 13, 2008) is a fantastic collection of songs written while the band was living on a fishing boat in Alaska for the summer. The album is exhilarating and refreshing, yet cold and lonely at times, reflecting the idyllic setting in which it was written.\u003c/p>\n\u003cp>The opening track “I Woke Up Today” feels like a modern day “We Will Rock You,” only with a much less forceful message — the kind of tune that you and might sing (or yell) along to while cruising the sidewalks or jumping for joy. These anthemic group vocals have popped up many times in recent indie music, and while it’s not hard to see it getting old, Port O’Brien certainly does it best.\u003c/p>\n\u003cp>It takes a moment to get past some of the clearly out-of-tune (I suppose “dissonant” is a kinder word) vocals in songs like “In Vino Veritas,” but it’s evident that they’re trying to make that a style of sorts — slightly flawed recordings that feel real and not plastic. Listen to it a few times and the tinge of discomfort fades.\u003c/p>\n\u003cp>A highlight of the album is “Close the Lid,” a tune that builds from a simple, stripped-down melody to a danceable, guitar solo-injected rock tune. Some of the lyrics are heart-wrenchingly cute: “I’m not afraid to die / as long as you’re by my side / we can sleep the whole year through.” But this song is the perfect example of the somewhat ambiguous themes that pervade the album — switching between this familiar bliss and the isolation and conflict of being alone: “…we are on the brink / of a long civil war / between my heart and yours / we will fight by ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This ambivalence is repeated many times throughout the album, with a recurring theme of true love conflicted with isolation, cold, and what goes through your mind when your mind is all you’ve got. The effecting melodies and lyrics are supplemented with simple string parts and lots of percussion. On the lighter side of the album is the stunning “Will You Be There,” the kind of achingly sweet song that sticks with you for days.\u003c/p>\n\u003cp>For the live shows, guitarist/vocalist Van Pierszalowski leads the band with an Elvis-like snarl and an excess of charisma. The band’s chemistry and love of the music comes out in full force. They will play their Bay Area record release show at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> this Wednesday, May 14, 2008. They will be joined by Missouri indie pop group \u003ca href=\"http://www.myspace.com/boris\" target=\"_blank\" rel=\"noopener\">Someone Still Loves You, Boris Yeltsin\u003c/a>. For \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=84\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit rickshawstop.com. For more on Port O’Brien, check out \u003ca href=\"http://www.thebaybridged.com/2008/01/15/episode-97-port-obrien/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged podcast\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the past several years, guitarist Meric Long and drummer Logan Kroeber — collectively The Dodos — have been criss-crossing the country, delivering audiences the propulsive folk-rock sound that has made them one of 2008’s most acclaimed bands. Propulsive might actually be an understatement to describe the two, as the group’s dynamic songs often find Long fingerpicking and strumming his acoustic guitar at a feverish pace while Kroeber channels his background in heavy metal into a thundering percussive racket. For an audience member, it feels like there’s always the potential for the whole thing to fly off the rails, but the two have developed such a chemistry that instead the group excels, weaving deftly between tender moments and furious crescendoes.\u003c/p>\n\u003cp>Released in March on French Kiss Records, the band’s new album, \u003cb>Visiter\u003c/b>, captures this chemistry wonderfully, offering a very strong collection of songs that is rightfully earning them international critical praise. Smart production helps capture much of The Dodos’ big live sound. Kroeber’s tom-tom drums sound particularly thick as they guide the songs, while liberal reverb intensify the clang and frenzy of vocals, guitar, and drums alike. Smart use of layered instrumentation, stereo and space make \u003cb>Visiter\u003c/b> a record that richly rewards detailed listening with a good pair of headphones.\u003c/p>\n\u003cp>As Meric Long sings in “Fools,” The Dodos are indeed “wandering” musicians, touching a number of different styles of rock music over \u003cb>Visiter\u003c/b>‘s hour length. Fans of the group’s first album, \u003cb>Beware of the Maniacs\u003c/b>, will welcome the melodic folk-pop found in a number of songs, but they might be surprised by the band’s willingness to delve into more progressive and psychedelic heavy rock terrain as well. Several tracks clock in at over six minutes, showcasing the band’s ability to write multi-movement pieces buoyed by performance skills that keep them moving at a brisk pace. Long’s lyrics, meanwhile, are relatively restrained, offering sketches of personal relationships and introspective self-examination that allow for multiple listener interpretations.\u003c/p>\n\u003cp>While the album’s sonic breadth keeps it challenging, the CD may suffer a lack of overall cohesion. It’s a feeling that diminishes with repeated listens, although the latter half still retains a little bit of a pinball feel, bouncing between more challenging prog songs and more immediately accessible pop ones. Kroeber and Long succeed most when they find a balance between the two extremes, as terrific songs like “Jodi” prove that they can use psychier elements and sophisticated composition alongside thoroughly hummable melodies. All told, there are a ton of great songs here, and fans of psych rock, folk and pop will find much to like in this excellent release.\u003c/p>\n\u003cp>The Dodos will be performing at \u003ca href=\"http://www.amoeba.com\">Amoeba Records\u003c/a> in San Francisco on May 14, and at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on June 19, 2008. Check out \u003ca href=\"http://www.thebaybridged.com/?p=77\" target=\"offsite\" rel=\"noopener\">The Dodos (Dodo Bird)\u003c/a> (at thebaybridged.com), and the \u003ca href=\"http://pitchfork.tv/videos/dodos-fools\" target=\"offsite\" rel=\"noopener\">“Fools” music video\u003c/a> at pitchfork.tv.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben van Houten is Content Editor for \u003ca href=\"http://www.thebaybridged.com\">TheBayBridged.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past several years, guitarist Meric Long and drummer Logan Kroeber — collectively The Dodos — have been criss-crossing the country, delivering audiences the propulsive folk-rock sound that has made them one of 2008’s most acclaimed bands. Propulsive might actually be an understatement to describe the two, as the group’s dynamic songs often find Long fingerpicking and strumming his acoustic guitar at a feverish pace while Kroeber channels his background in heavy metal into a thundering percussive racket. For an audience member, it feels like there’s always the potential for the whole thing to fly off the rails, but the two have developed such a chemistry that instead the group excels, weaving deftly between tender moments and furious crescendoes.\u003c/p>\n\u003cp>Released in March on French Kiss Records, the band’s new album, \u003cb>Visiter\u003c/b>, captures this chemistry wonderfully, offering a very strong collection of songs that is rightfully earning them international critical praise. Smart production helps capture much of The Dodos’ big live sound. Kroeber’s tom-tom drums sound particularly thick as they guide the songs, while liberal reverb intensify the clang and frenzy of vocals, guitar, and drums alike. Smart use of layered instrumentation, stereo and space make \u003cb>Visiter\u003c/b> a record that richly rewards detailed listening with a good pair of headphones.\u003c/p>\n\u003cp>As Meric Long sings in “Fools,” The Dodos are indeed “wandering” musicians, touching a number of different styles of rock music over \u003cb>Visiter\u003c/b>‘s hour length. Fans of the group’s first album, \u003cb>Beware of the Maniacs\u003c/b>, will welcome the melodic folk-pop found in a number of songs, but they might be surprised by the band’s willingness to delve into more progressive and psychedelic heavy rock terrain as well. Several tracks clock in at over six minutes, showcasing the band’s ability to write multi-movement pieces buoyed by performance skills that keep them moving at a brisk pace. Long’s lyrics, meanwhile, are relatively restrained, offering sketches of personal relationships and introspective self-examination that allow for multiple listener interpretations.\u003c/p>\n\u003cp>While the album’s sonic breadth keeps it challenging, the CD may suffer a lack of overall cohesion. It’s a feeling that diminishes with repeated listens, although the latter half still retains a little bit of a pinball feel, bouncing between more challenging prog songs and more immediately accessible pop ones. Kroeber and Long succeed most when they find a balance between the two extremes, as terrific songs like “Jodi” prove that they can use psychier elements and sophisticated composition alongside thoroughly hummable melodies. All told, there are a ton of great songs here, and fans of psych rock, folk and pop will find much to like in this excellent release.\u003c/p>\n\u003cp>The Dodos will be performing at \u003ca href=\"http://www.amoeba.com\">Amoeba Records\u003c/a> in San Francisco on May 14, and at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a> on June 19, 2008. Check out \u003ca href=\"http://www.thebaybridged.com/?p=77\" target=\"offsite\" rel=\"noopener\">The Dodos (Dodo Bird)\u003c/a> (at thebaybridged.com), and the \u003ca href=\"http://pitchfork.tv/videos/dodos-fools\" target=\"offsite\" rel=\"noopener\">“Fools” music video\u003c/a> at pitchfork.tv.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometime new acts blow onto the music scene like an unforecast hurricane, taking the world by storm in a single Force 12 blast of hype and excitement. But not always.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://theblanktapes.minus-world.net/blanktapes.html\" target=\"offsite\" rel=\"noopener\">The Blank Tapes\u003c/a>, a folky, lo-fi (largely) one-man band, otherwise known as Bay Area local Matt Adams. Released last fall, his latest album \u003cb>Daydreams\u003c/b> arrived with a ripple rather than a splash. But, at 26 tracks and a fill-that-CD-to-the-edges 79 minutes long, there is a lot to chew on. Perhaps it isn’t surprising that it’s taking us all a bit longer than usual to catch up.\u003c/p>\n\u003cp>Of course, the fact that it was released through his own Matty-Made Music label probably doesn’t help either. And the fact that it is self-recorded and self-released goes some way towards explaining a slight lack of… no, not quality control. Long it may be, but padded with fillers it ain’t. Perhaps “restraint” is a better way to put it.\u003c/p>\n\u003cp>Because while \u003cb>Daydreams\u003c/b> may be a bit untidy in terms of structure, it’s also chock full of excellence: overflowing with it in fact. Every time you hit play, another gem pops out from the crowd. But overall it’s just too much, like trying to eat a family pizza on your own.\u003c/p>\n\u003cp>Adams is, apparently, aware of the problem. As he says on his \u003ca href=\"http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4767557&blogID=302098233\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> (in response to an earlier review pointing out that \u003cb>Daydreams\u003c/b> may be a little, y’know, lengthy): “yes it’s true, my albums are f@#king long. Oh well, I can’t seem to change that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Athough this may seem frustrating at first, try thinking of the CD less as a finished product and more as a sort of DIY work in progress. Welcome to the flatpack album release, which is one of the beauties of the post-iTunes musical landscape: we are now free to take the raw materials of any album (in this case, a 25-song hodgepodge) and chop, change, cut, and paste to our heart’s content. \u003c/p>\n\u003cp>For example, you could easily make two great albums from this single CD, but how you split the tracks is up to you: do you sort them by pace (separating the upbeat rockers and rollicking folk stompers from the sad acoustic ballads and stoned moaners), by quality (cutting together a slimmed-down main release of your favorites next to an album of bonus material), or even just crudely cleave it in half down the middle?\u003c/p>\n\u003cp>For me, there was an obvious split between the more folksy, acoustic Americana of tracks such as “This is What’s Inside,” and the rockier indie of “When I See You.” But (and this is where it gets complicated) many of the album’s best tracks arrive when the two styles collide.\u003c/p>\n\u003cp>For what it’s worth, my perfect mix starts with the excellent trio of tracks 17 through 19: “Oh My Love” (think \u003ca href=\"http://www.tapesntapes.com/\" target=\"offsite\" rel=\"noopener\">Tapes ‘n Tapes\u003c/a> with a country beat and you won’t be far off), “Part the Clouds” (an upbeat, salty shanty worthy of \u003ca href=\"http://www.thecoral.co.uk/\" target=\"offsite\" rel=\"noopener\">The Coral\u003c/a>), and the more light-hearted “Listen to the One.”\u003c/p>\n\u003cp>Elsewhere, I’ve included “Long Ago” (like \u003ca href=\"http://www.notwist.com/\" target=\"offsite\" rel=\"noopener\">The Notwist\u003c/a> at their soft-focus folkiest), “Silverado” (which couldn’t be more charmingly Neil Young-like if it tried), and retro-indie classics “We’re Better Not Together” and “We Can Still Be Friends” (both of which party like it’s 1989).\u003c/p>\n\u003cp>My mix closes by sneaking in the pretty, whimsical “Why Must I Fall in Love” as a kind of “hidden” final track. Unfortunately, this ignores the existing album’s only real nod towards structure, which is the inclusion of (oops) a “hidden” final track. This one ends, appropriately, with the clunking sound of the stop button being pressed on a tape recording. I guess it’s time to start work on compilation two…\u003c/p>\n\u003cp>Of course, no matter which way you decide to cut it, you may end up with a few tracks left over. Don’t panic: Just think of them as lost B-sides, to be included in your very own deluxe double-disc reissue in 20 years’ time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Blank Tapes are touring Portland, Washington, and California during April and May: \u003ca href=\"http://collect.myspace.com/index.cfm?fuseaction=bandprofile.listAllShows&friendid=4767557&n=the+blank+tapes\" target=\"offsite\" rel=\"noopener\">check here for details\u003c/a>. \u003cb>Daydreams\u003c/b> is out now on Matty-Made Music.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometime new acts blow onto the music scene like an unforecast hurricane, taking the world by storm in a single Force 12 blast of hype and excitement. But not always.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://theblanktapes.minus-world.net/blanktapes.html\" target=\"offsite\" rel=\"noopener\">The Blank Tapes\u003c/a>, a folky, lo-fi (largely) one-man band, otherwise known as Bay Area local Matt Adams. Released last fall, his latest album \u003cb>Daydreams\u003c/b> arrived with a ripple rather than a splash. But, at 26 tracks and a fill-that-CD-to-the-edges 79 minutes long, there is a lot to chew on. Perhaps it isn’t surprising that it’s taking us all a bit longer than usual to catch up.\u003c/p>\n\u003cp>Of course, the fact that it was released through his own Matty-Made Music label probably doesn’t help either. And the fact that it is self-recorded and self-released goes some way towards explaining a slight lack of… no, not quality control. Long it may be, but padded with fillers it ain’t. Perhaps “restraint” is a better way to put it.\u003c/p>\n\u003cp>Because while \u003cb>Daydreams\u003c/b> may be a bit untidy in terms of structure, it’s also chock full of excellence: overflowing with it in fact. Every time you hit play, another gem pops out from the crowd. But overall it’s just too much, like trying to eat a family pizza on your own.\u003c/p>\n\u003cp>Adams is, apparently, aware of the problem. As he says on his \u003ca href=\"http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=4767557&blogID=302098233\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> (in response to an earlier review pointing out that \u003cb>Daydreams\u003c/b> may be a little, y’know, lengthy): “yes it’s true, my albums are f@#king long. Oh well, I can’t seem to change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Athough this may seem frustrating at first, try thinking of the CD less as a finished product and more as a sort of DIY work in progress. Welcome to the flatpack album release, which is one of the beauties of the post-iTunes musical landscape: we are now free to take the raw materials of any album (in this case, a 25-song hodgepodge) and chop, change, cut, and paste to our heart’s content. \u003c/p>\n\u003cp>For example, you could easily make two great albums from this single CD, but how you split the tracks is up to you: do you sort them by pace (separating the upbeat rockers and rollicking folk stompers from the sad acoustic ballads and stoned moaners), by quality (cutting together a slimmed-down main release of your favorites next to an album of bonus material), or even just crudely cleave it in half down the middle?\u003c/p>\n\u003cp>For me, there was an obvious split between the more folksy, acoustic Americana of tracks such as “This is What’s Inside,” and the rockier indie of “When I See You.” But (and this is where it gets complicated) many of the album’s best tracks arrive when the two styles collide.\u003c/p>\n\u003cp>For what it’s worth, my perfect mix starts with the excellent trio of tracks 17 through 19: “Oh My Love” (think \u003ca href=\"http://www.tapesntapes.com/\" target=\"offsite\" rel=\"noopener\">Tapes ‘n Tapes\u003c/a> with a country beat and you won’t be far off), “Part the Clouds” (an upbeat, salty shanty worthy of \u003ca href=\"http://www.thecoral.co.uk/\" target=\"offsite\" rel=\"noopener\">The Coral\u003c/a>), and the more light-hearted “Listen to the One.”\u003c/p>\n\u003cp>Elsewhere, I’ve included “Long Ago” (like \u003ca href=\"http://www.notwist.com/\" target=\"offsite\" rel=\"noopener\">The Notwist\u003c/a> at their soft-focus folkiest), “Silverado” (which couldn’t be more charmingly Neil Young-like if it tried), and retro-indie classics “We’re Better Not Together” and “We Can Still Be Friends” (both of which party like it’s 1989).\u003c/p>\n\u003cp>My mix closes by sneaking in the pretty, whimsical “Why Must I Fall in Love” as a kind of “hidden” final track. Unfortunately, this ignores the existing album’s only real nod towards structure, which is the inclusion of (oops) a “hidden” final track. This one ends, appropriately, with the clunking sound of the stop button being pressed on a tape recording. I guess it’s time to start work on compilation two…\u003c/p>\n\u003cp>Of course, no matter which way you decide to cut it, you may end up with a few tracks left over. Don’t panic: Just think of them as lost B-sides, to be included in your very own deluxe double-disc reissue in 20 years’ time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Blank Tapes are touring Portland, Washington, and California during April and May: \u003ca href=\"http://collect.myspace.com/index.cfm?fuseaction=bandprofile.listAllShows&friendid=4767557&n=the+blank+tapes\" target=\"offsite\" rel=\"noopener\">check here for details\u003c/a>. \u003cb>Daydreams\u003c/b> is out now on Matty-Made Music.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This Friday and Saturday, April 18 and 19, eight nationally-recognized independent bands will grace the stage near Mendocino for the second annual \u003cb>Awesome Fest\u003c/b>, presented by the Honorable Mention Collective. The festival will take place in California’s smallest city, Point Arena, in the 1928 Art Deco-style \u003ca href=\"http://www.arenatheater.org/About%20the%20Theater.htm\" target=\"offsite\" rel=\"noopener\">Arena Theatre\u003c/a>.\u003c/p>\n\u003cp>The festival will include five Bay Area acts — \u003ca href=\"http://www.myspace.com/girlssanfran\" target=\"offsite\" rel=\"noopener\">Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/themorningbenders\" target=\"offsite\" rel=\"noopener\">The Morning Benders\u003c/a>, \u003ca href=\"http://www.myspace.com/portobrien\" target=\"offsite\" rel=\"noopener\">Port O’Brien\u003c/a>, Adam Stevens (of \u003ca href=\"http://www.myspace.com/twogallants\" target=\"offsite\" rel=\"noopener\">Two Gallants\u003c/a>) and \u003ca href=\"http://www.myspace.com/ohsees\" target=\"offsite\" rel=\"noopener\">The Oh Sees\u003c/a> — and three others — \u003ca href=\"http://www.myspace.com/chieftheband\" target=\"offsite\" rel=\"noopener\">Chief\u003c/a> from NYC, \u003ca href=\"http://www.myspace.com/goldenanimals\" target=\"offsite\" rel=\"noopener\">Golden Animals\u003c/a> and \u003ca href=\"http://www.myspace.com/lbcgrowlers\" target=\"offsite\" rel=\"noopener\">The Growlers\u003c/a>, both from LA. The festival creators pride themselves on putting together an all-star indie lineup while still being able to maintain the DIY, independent and personal form.\u003c/p>\n\u003cp>The featured bands are certainly none to take lightly. East Bay band The Morning Benders, who also played last year’s \u003cb>Awesome Fest\u003c/b>, will bring their sentimental indie pop accompanying UK indie sensations and fellow \u003ca href=\"http://www.plusonemusic.net/\" target=\"offsite\" rel=\"noopener\">+1 Records\u003c/a> band \u003ca href=\"http://www.myspace.com/thekooks\" target=\"offsite\" rel=\"noopener\">The Kooks\u003c/a> on a number of stops across the country — many of which are already sold out. The Morning Benders will release their debut album \u003cb>Talking Through Tin Cans\u003c/b> on May 6.\u003c/p>\n\u003cp>Port O’Brien has a very busy year ahead of them, starting with the release of their debut studio album \u003cb>All We Could Do Was Sing\u003c/b>. They will tour with \u003ca href=\"http://www.morawk.com/boris/\" target=\"offsite\" rel=\"noopener\">Someone Still Loves You Boris Yeltsin\u003c/a> and stop in Barcelona for the \u003ca href=\"http://www.primaverasound.com/index.php?idioma=en&sec=home\" target=\"offsite\" rel=\"noopener\">Primavera Festival\u003c/a> to share the stage with Portishead, Devo, Cat Power and Animal Collective, among others. Likewise, The Oh Sees will spend most of May and June in Europe, promoting their just-released album \u003cb>The Masters Bedroom Is Worth Spending A Night In\u003c/b>.\u003c/p>\n\u003cp>Alas, \u003cb>Awesome Fest\u003c/b> provides a rare glimpse at a gaggle of bands that could easily be stolen away by the international music machine, but at the moment are just up Highway 1. The festival costs $25 per day or $45 for both days. You can purchase tickets at \u003ca href=\"http://www.brownpapertickets.com/event/31695\" target=\"offsite\" rel=\"noopener\">brown paper tickets\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News 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>This Friday and Saturday, April 18 and 19, eight nationally-recognized independent bands will grace the stage near Mendocino for the second annual \u003cb>Awesome Fest\u003c/b>, presented by the Honorable Mention Collective. The festival will take place in California’s smallest city, Point Arena, in the 1928 Art Deco-style \u003ca href=\"http://www.arenatheater.org/About%20the%20Theater.htm\" target=\"offsite\" rel=\"noopener\">Arena Theatre\u003c/a>.\u003c/p>\n\u003cp>The festival will include five Bay Area acts — \u003ca href=\"http://www.myspace.com/girlssanfran\" target=\"offsite\" rel=\"noopener\">Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/themorningbenders\" target=\"offsite\" rel=\"noopener\">The Morning Benders\u003c/a>, \u003ca href=\"http://www.myspace.com/portobrien\" target=\"offsite\" rel=\"noopener\">Port O’Brien\u003c/a>, Adam Stevens (of \u003ca href=\"http://www.myspace.com/twogallants\" target=\"offsite\" rel=\"noopener\">Two Gallants\u003c/a>) and \u003ca href=\"http://www.myspace.com/ohsees\" target=\"offsite\" rel=\"noopener\">The Oh Sees\u003c/a> — and three others — \u003ca href=\"http://www.myspace.com/chieftheband\" target=\"offsite\" rel=\"noopener\">Chief\u003c/a> from NYC, \u003ca href=\"http://www.myspace.com/goldenanimals\" target=\"offsite\" rel=\"noopener\">Golden Animals\u003c/a> and \u003ca href=\"http://www.myspace.com/lbcgrowlers\" target=\"offsite\" rel=\"noopener\">The Growlers\u003c/a>, both from LA. The festival creators pride themselves on putting together an all-star indie lineup while still being able to maintain the DIY, independent and personal form.\u003c/p>\n\u003cp>The featured bands are certainly none to take lightly. East Bay band The Morning Benders, who also played last year’s \u003cb>Awesome Fest\u003c/b>, will bring their sentimental indie pop accompanying UK indie sensations and fellow \u003ca href=\"http://www.plusonemusic.net/\" target=\"offsite\" rel=\"noopener\">+1 Records\u003c/a> band \u003ca href=\"http://www.myspace.com/thekooks\" target=\"offsite\" rel=\"noopener\">The Kooks\u003c/a> on a number of stops across the country — many of which are already sold out. The Morning Benders will release their debut album \u003cb>Talking Through Tin Cans\u003c/b> on May 6.\u003c/p>\n\u003cp>Port O’Brien has a very busy year ahead of them, starting with the release of their debut studio album \u003cb>All We Could Do Was Sing\u003c/b>. They will tour with \u003ca href=\"http://www.morawk.com/boris/\" target=\"offsite\" rel=\"noopener\">Someone Still Loves You Boris Yeltsin\u003c/a> and stop in Barcelona for the \u003ca href=\"http://www.primaverasound.com/index.php?idioma=en&sec=home\" target=\"offsite\" rel=\"noopener\">Primavera Festival\u003c/a> to share the stage with Portishead, Devo, Cat Power and Animal Collective, among others. Likewise, The Oh Sees will spend most of May and June in Europe, promoting their just-released album \u003cb>The Masters Bedroom Is Worth Spending A Night In\u003c/b>.\u003c/p>\n\u003cp>Alas, \u003cb>Awesome Fest\u003c/b> provides a rare glimpse at a gaggle of bands that could easily be stolen away by the international music machine, but at the moment are just up Highway 1. The festival costs $25 per day or $45 for both days. You can purchase tickets at \u003ca href=\"http://www.brownpapertickets.com/event/31695\" target=\"offsite\" rel=\"noopener\">brown paper tickets\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I think it was the sudden proliferation of musical genres that ended in “?core” that led to my sudden mental retreat from classifying new artists and music by genre. If the system of taxonomy was going to get so discriminating as to only have ten bands per subgroup, I was pretty sure I didn’t want to memorize all those categories. But one that stuck with me was the term IDM, or Intelligent Dance Music.\u003c/p>\n\u003cp>Popular dance music had, especially in the ’90s, fallen into a mind-numbingly repetitive, made-by-a-machine sound that lacked much in the way of innovation, so it only made sense that the term would arise for a new generation of dance music makers like \u003ca href=\"http://www.warprecords.com/comm/links.php?artist_id=afx\" target=\"offsite\" rel=\"noopener\">Aphex Twin\u003c/a> and \u003ca href=\"http://www.futuresoundoflondon.com\" target=\"offsite\" rel=\"noopener\">Future Sound of London\u003c/a>, who used technology to augment their creativy, not replace it. \u003ca href=\"http://www.myspace.com/mdslktr\" target=\"offsite\" rel=\"noopener\">Modeselektor\u003c/a> is a descendant of this generation of intelligent beat-makers, who ground their glitch in rhythms from ragga to breakbeat to polka (yup) on \u003cb>Happy Birthday!\u003c/b> (Bpitch Control, 2007).\u003c/p>\n\u003cp>\u003cb>Happy Birthday!\u003c/b> is a moody sort of bastard, starting you off in the bowels of the UK dancehall club scene, then taking you to France for a little glitched out techno hip hop courtesy of a collaboration with rapper \u003ca href=\"http://www.myspace.com/inbedwithttc\" target=\"offsite\" rel=\"noopener\">TTC\u003c/a>, followed by the title song “Happy Birthday,” which brings a flighty carnival atmosphere to your polka party. The rest of the staggering 17 songs on the album take you pretty much all over the map in a whirlwind tour of every genre spawned by electronic music in the last ten years.\u003c/p>\n\u003cp>“Let Your Love Grow” is one of the standouts on the album, showcasing \u003ca href=\"http://www.last.fm/music/Paul+St.+Hilaire\" target=\"offsite\" rel=\"noopener\">Paul St. Hilaire’s\u003c/a> warm and soaring vocals and evoking Massive Attack’s stunning collaboration with Horace Andy on “Angel.” But the very next song, “B.M.I.” reverts to a jerky beat factory designed to make glitch-hounds strike up their interpretive dance movements. Some of Modeselektor’s other collaborations are just as welcome, including Thom Yorke on “The White Flash,” which could easily have turned up on \u003cb>The Eraser\u003c/b>, his solo release.\u003c/p>\n\u003cp>There are a few uneven points on \u003cb>Happy Birthday!\u003c/b> like the transition from “The First Rebirth,” aptly described by my boyfriend as a concerto for dot matrix printers, to “The Dark Side of the Frog/Sun,” which brings in a gangster rap over a rather dull beatscape. But these are far outweighed by the album’s audacious exploration of genres and driving energy from track to track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Modeselektor just came through San Francisco this month and is on to the rest of the world for the foreseeable future, but for now, you can watch \u003ca href=\"http://www.youtube.com/watch?v=g0vpWsNqNpE\" target=\"offsite\" rel=\"noopener\">the video for single “Blackbox”\u003c/a> from \u003cb>Happy Birthday!\u003c/b>.\u003c/p>\n\n",
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"content": "\u003cp>Michael Stipe once said that REM’s \u003cb>Fables of the Reconstruction\u003c/b> sounded like “two oranges being nailed together.” As well as being a great quote, it was also a joke (one missed by the journalist he was speaking to at the time, unfortunately). However, it made an important point: that trying to describe music in words is an essentially futile task.\u003c/p>\n\u003cp>Which is something that \u003cb>Some Racing, Some Stopping\u003c/b>, the new album by \u003ca href=\"http://www.headlightsmusic.com/\" target=\"offsite\" rel=\"noopener\">Headlights\u003c/a>, illustrates perfectly. The album was a bit of a guilty pleasure when I first heard it, as it seemed a little cutesy and lightweight. I was worried that it might turn out to be an Ikea record: attractive and enjoyable at first, but essentially an insubstantial piece of crap that was going to give way under the slightest pressure.\u003c/p>\n\u003cp>Then one day the sun came out, literally. And, just like in countless episodes of \u003cb>CSI\u003c/b>, a little UV light revealed all. No, not blood splatter patterns or the dried crust of sordid sexual activities, but the realization that this was a SUMMER album. As the warmth of spring spread over San Francisco, those sweet boy-girl harmonies and pop hooks suddenly made perfect sense. From beginning to end, whether it’s the effervescing pop of “Catch Them All,” “Cherry Tulips,” and “Market Girl,” or the lullaby-like softness of the title track, the sunshine never stops.\u003c/p>\n\u003cp>But there’s something else too, and that’s where it gets complicated. There’s a sadness, an aching meloncholia behind the honeyed harmonies and hooks, but one that somehow feels good at the same time. It’s sort of like the warmth of tears on cold cheeks, or perhaps the way even the most carefree Sunday is haunted by the Monday to come. Maybe it’s the whispered promise of love that cannot possibly last beyond fall? Whatever it is, it feels delicious.\u003c/p>\n\u003cp>Even the “do doo-doo” backing vocals on “School Boys” (a perfect slice of pop if ever there was one) are broken up by wistful sighs of “aah,” like a pinch of salt in caramel ice cream. Everywhere you turn, xylophones jingle like wind chimes in a light breeze while voices drenched in soft-focus reverb and faraway echo sing lines such as: “Wouldn’t it be sort of strange if we could hear our hearts all beating at once?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you listen for it, that indescribable, indefinable sadness is present in much of the very best summer music. But how to adequately describe it? Occasionally, a new word will come along to help us, as \u003ca href=\"http://music.guardian.co.uk/rock/laurabarton/story/0,,2264812,00.html\" target=\"offsite\" rel=\"noopener\">Nick Cave has discovered\u003c/a> by applying the concept of \u003ca href=\"http://en.wikipedia.org/wiki/Duende_(art)\" target=\"offsite\" rel=\"noopener\">duende\u003c/a> to the darkness at the heart of his own music (which is a far deeper, blacker thing than the thing I am trying to describe here). But for now there doesn’t seem to be any easy literary equivalent for the weird happysadness at the heart of the Headlights’ shimmering pop\u003c/p>\n\u003cp>. \u003c/p>\n\u003cp>Instead, you just need to wait for a suitably sunny moment, buy an ice cream, shed a few tears, and discover it for yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Some Racing, Some Stopping\u003c/b> is out now 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>\u003c/p>\n\u003cp>If you listen for it, that indescribable, indefinable sadness is present in much of the very best summer music. But how to adequately describe it? Occasionally, a new word will come along to help us, as \u003ca href=\"http://music.guardian.co.uk/rock/laurabarton/story/0,,2264812,00.html\" target=\"offsite\" rel=\"noopener\">Nick Cave has discovered\u003c/a> by applying the concept of \u003ca href=\"http://en.wikipedia.org/wiki/Duende_(art)\" target=\"offsite\" rel=\"noopener\">duende\u003c/a> to the darkness at the heart of his own music (which is a far deeper, blacker thing than the thing I am trying to describe here). But for now there doesn’t seem to be any easy literary equivalent for the weird happysadness at the heart of the Headlights’ shimmering pop\u003c/p>\n\u003cp>. \u003c/p>\n\u003cp>Instead, you just need to wait for a suitably sunny moment, buy an ice cream, shed a few tears, and discover it for yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Some Racing, Some Stopping\u003c/b> is out now 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>Last Saturday afternoon I drove to Cinema West in Fairfax, decided 12:30pm isn’t too early for popcorn, bought my ticket and went inside. Was I there for the latest epic romance? An indie film playing only at select theaters? A revival of a classic? Turns out it was a little of all three: San Francisco Opera’s first theatrical release of Giacomo Puccini’s \u003cb>La Rondine\u003c/b>.\u003c/p>\n\u003cp>I’d been looking forward to this matinee for months. My husband, on the other hand, spent the drive to Fairfax enumerating the many other ways that we could spend a beautiful Saturday afternoon. But even he was won over by the benefits of opera at the movies. For example: you can wear jeans, there’s no pressure about clapping at the right or wrong time, tickets cost under $20, and you can enjoy soda and candy during the show. More importantly the sound quality is excellent, the picture is in high definition, and the cameras capture subtleties and expressions that can get lost in a big opera house. We were both genuinely moved by the story and by the immediacy of seeing the performers up close, thirty feet high, revealing the characters’ lives and loves to Puccini’s sweeping, romantic music. While it can’t replace the energy and excitement of a live performance, the theatrical release provides a more intimate and casual way to experience opera.\u003c/p>\n\u003cp>\u003cb>La Rondine (The Swallow)\u003c/b> tells the story of Magda, a young Parisian woman who lives in luxury as the mistress of a wealthy banker. When she falls in love with Ruggero, a naive young man from the country, she gives up the pleasures of her life in Paris, and must eventually decide whether she will deceive her young lover about her past. Though the opera is rarely performed, this production is an argument for mounting it more often due largely to the magnetic and deeply felt performance by Romanian soprano Angela Gheorghiu as Magda. Her voice is clear and rich and she floats high notes with grace and power. Equally revelatory is her physical portrayal, inhabiting Magda as a lively and conflicted young woman who seems to want to squeeze every drop of life from each moment. Gheorghiu is supported by excellent physical and vocal performances from Gerard Powers as the dapper poet Prunier and Anna Christy as the flighty maid Lisette. Only Misha Didyk, as the lover Ruggero, appeared stiff and was better to listen to than to watch. But the opera belongs to Gheorghiu’s Magda, and she holds the audience’s attention throughout.\u003c/p>\n\u003cp>Operas have been filmed for decades, often for release on public television, with mixed results in capturing the vibrancy and depth of live performances. But recent advances in digital technology have opened up new options for filming live operatic performances. San Francisco Opera and the Metropolitan Opera in New York, both under new general directors since 2006, are taking advantage of this technology to bring opera out of the opera house and to wider audiences. In 2007, San Francisco Opera installed a high definition video production center at the War Memorial Opera House and filmed four operas from the season, which are now being released in movie theaters. The Met has been transmitting select operas in movie theaters since 2006. The management of both companies insist that opera is still best seen live, but with so many people unable to attend a performance (cost and distance are frequently prohibitive) these theatrical releases are an exciting way to reach new and old audiences alike.\u003c/p>\n\u003cp>If you’re interested in exploring this innovative way to enjoy opera, or you just like the idea of eating popcorn while a soprano warbles onscreen, there are plenty of opportunities. \u003cb>La Rondine\u003c/b> will play at the Castro Theater on March 17, 2008 with future productions of \u003cb>Samson and Delilah\u003c/b>, \u003cb>Don Giovanni\u003c/b>, and \u003cb>Madama Butterfly\u003c/b> airing in theaters around the Bay Area in March and April, 2008. \u003ca href=\"http://www.thebiggerpicture.us/opera/\" target=\"offsite\" rel=\"noopener\">More information\u003c/a> is available at thebiggerpicture. The Met’s next release is Benjamin Britten’s dark and brooding \u003cb>Peter Grimes\u003c/b>, which plays in local theaters March 15-16, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Saturday afternoon I drove to Cinema West in Fairfax, decided 12:30pm isn’t too early for popcorn, bought my ticket and went inside. Was I there for the latest epic romance? An indie film playing only at select theaters? A revival of a classic? Turns out it was a little of all three: San Francisco Opera’s first theatrical release of Giacomo Puccini’s \u003cb>La Rondine\u003c/b>.\u003c/p>\n\u003cp>I’d been looking forward to this matinee for months. My husband, on the other hand, spent the drive to Fairfax enumerating the many other ways that we could spend a beautiful Saturday afternoon. But even he was won over by the benefits of opera at the movies. For example: you can wear jeans, there’s no pressure about clapping at the right or wrong time, tickets cost under $20, and you can enjoy soda and candy during the show. More importantly the sound quality is excellent, the picture is in high definition, and the cameras capture subtleties and expressions that can get lost in a big opera house. We were both genuinely moved by the story and by the immediacy of seeing the performers up close, thirty feet high, revealing the characters’ lives and loves to Puccini’s sweeping, romantic music. While it can’t replace the energy and excitement of a live performance, the theatrical release provides a more intimate and casual way to experience opera.\u003c/p>\n\u003cp>\u003cb>La Rondine (The Swallow)\u003c/b> tells the story of Magda, a young Parisian woman who lives in luxury as the mistress of a wealthy banker. When she falls in love with Ruggero, a naive young man from the country, she gives up the pleasures of her life in Paris, and must eventually decide whether she will deceive her young lover about her past. Though the opera is rarely performed, this production is an argument for mounting it more often due largely to the magnetic and deeply felt performance by Romanian soprano Angela Gheorghiu as Magda. Her voice is clear and rich and she floats high notes with grace and power. Equally revelatory is her physical portrayal, inhabiting Magda as a lively and conflicted young woman who seems to want to squeeze every drop of life from each moment. Gheorghiu is supported by excellent physical and vocal performances from Gerard Powers as the dapper poet Prunier and Anna Christy as the flighty maid Lisette. Only Misha Didyk, as the lover Ruggero, appeared stiff and was better to listen to than to watch. But the opera belongs to Gheorghiu’s Magda, and she holds the audience’s attention throughout.\u003c/p>\n\u003cp>Operas have been filmed for decades, often for release on public television, with mixed results in capturing the vibrancy and depth of live performances. But recent advances in digital technology have opened up new options for filming live operatic performances. San Francisco Opera and the Metropolitan Opera in New York, both under new general directors since 2006, are taking advantage of this technology to bring opera out of the opera house and to wider audiences. In 2007, San Francisco Opera installed a high definition video production center at the War Memorial Opera House and filmed four operas from the season, which are now being released in movie theaters. The Met has been transmitting select operas in movie theaters since 2006. The management of both companies insist that opera is still best seen live, but with so many people unable to attend a performance (cost and distance are frequently prohibitive) these theatrical releases are an exciting way to reach new and old audiences alike.\u003c/p>\n\u003cp>If you’re interested in exploring this innovative way to enjoy opera, or you just like the idea of eating popcorn while a soprano warbles onscreen, there are plenty of opportunities. \u003cb>La Rondine\u003c/b> will play at the Castro Theater on March 17, 2008 with future productions of \u003cb>Samson and Delilah\u003c/b>, \u003cb>Don Giovanni\u003c/b>, and \u003cb>Madama Butterfly\u003c/b> airing in theaters around the Bay Area in March and April, 2008. \u003ca href=\"http://www.thebiggerpicture.us/opera/\" target=\"offsite\" rel=\"noopener\">More information\u003c/a> is available at thebiggerpicture. The Met’s next release is Benjamin Britten’s dark and brooding \u003cb>Peter Grimes\u003c/b>, which plays in local theaters March 15-16, 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shane King and Arne Johnson wisely set up \u003cb>Girls Rock!\u003c/b>, their raucous documentary about a five-day, all-girl, Portland rock ‘n’ roll camp, as a hootin’ ‘n’ hollerin’ hunka swaggering female empowerment. Heaven knows we can always use a movie like that, and I wouldn’t want to dampen the powder on anyone’s blast at the movies. But as King and Johnson would no doubt admit (after you’ve bought your ticket), \u003cb>Girls Rock!\u003c/b> is anything but an escapist flick.\u003c/p>\n\u003cp>The Bay Area filmmakers (who hail from Portland originally) take the now-standard documentary approach of introducing a few offbeat but recognizable characters, then follow their journey through an uncommon experience. The setting here is the Rock ‘n’ Roll Camp for Girls, a rowdy, unruly mess o’ gals age eight to eighteen. The week begins with each camper picking her favored genre (from pop to hip-hop, with every stop in-between), and embarking on the awkward and intense process of forming a band with other kids under the same banner. Choosing a name seems to be the most stressful activity; writing original songs, rehearsing and performing at the closing-night blowout isn’t half as threatening to the average girl’s self-esteem.\u003c/p>\n\u003cp>At least that’s the case with Misty, a tough-talking but charming teenager who’s gone through a stretch of homelessness and drug abuse and has a miniscule fuse for any perceived slight. Good thing she’s not in a band with eight-year-old Amelia, who dominates and intimidates her wee peers with screeching lyrics and shrieking guitar. Another tyro terror, Palace, has the preternatural poise, posture and calculated self-awareness of a junior beauty pageant contestant, which makes her mother justifiably concerned that she’s way too appearance-obsessed.\u003c/p>\n\u003cp>Reactions will vary, but this middle-aged male discerned a good deal of pain behind the façade each girl has constructed to conceal her adolescent insecurities. By comparison, perpetually embarrassed heavy-metal misfit Laura — an outgoing Korean adoptee from Oklahoma (!) — appears downright healthy. At least someday she’ll outgrow her proclivity for voicing every goofy, self-deprecating thought that pops into her head. The other girls will have more difficulty shedding the personae they’ve devised to deal with the world.\u003c/p>\n\u003cp>This is \u003cb>Girls Rock\u003c/b>‘s powerful central theme, that it’s not just crazy-hard growing up female in America, but it’s getting harder earlier. Consider this factoid, one of many strewn throughout the film, “In 1970, the average age for girls to start dieting was 14. By 1990 it was 8.” We are provided this unsettling news in arresting fashion, via local filmmaker Liz Canning’s animated interludes mimicking the lo-fi, handmade style of zines, scrapbooks and ransom notes. Backed by abrasive guitar rock, her sequences supply a wealth of sobering statistics with a wholly appropriate shot of edge and energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re more inclined to accentuate the positive, the doc features plenty of affirming interviews with camp teachers and administrators (mostly tattooed rockers, of course) and giddy shots of girls starting to own their instrument. The closing night concert — not a competition, thankfully, so you needn’t dread another teen sports climax a la \u003cb>Spellbound\u003c/b> or \u003cb>Mad Hot Ballroom\u003c/b> — is inescapably heartwarming. The effect is enhanced by King and Johnson’s smart decision not to build up to the show throughout the movie; when each band hits the stage, we simply expect the four main girls to experience a sense of completion rather than a lightning moment of life-altering transformation.\u003c/p>\n\u003cp>That said, the upbeat ending isn’t completely earned. Good vibes surround the showcase concert, but we’re told about the ground each girl has covered over the previous five days instead of truly witnessing it for ourselves. What the film does reveal, most viscerally in the band dynamics — and this is what makes \u003cb>Girls Rock!\u003c/b> both a savvy and savage film — are the hostilities and turf wars that erupt when girls are compelled to cooperate with each other. As mean as boys and men are, sisters aren’t slouches about doin’ it to themselves.\u003c/p>\n\u003cp>Moviegoers are pretty well assured of walking out of \u003cb>Girls Rock!\u003c/b> with a contact high, jazzed about the growth opportunity that Rock ‘n’ Roll Camp for Girls afforded Amelia, Misty, Laura and Palace. The film’s longer-lasting contribution, though, is the degree of serious discussion, and reflection, it inspires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b> opens Friday, March 7, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck in Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shane King and Arne Johnson wisely set up \u003cb>Girls Rock!\u003c/b>, their raucous documentary about a five-day, all-girl, Portland rock ‘n’ roll camp, as a hootin’ ‘n’ hollerin’ hunka swaggering female empowerment. Heaven knows we can always use a movie like that, and I wouldn’t want to dampen the powder on anyone’s blast at the movies. But as King and Johnson would no doubt admit (after you’ve bought your ticket), \u003cb>Girls Rock!\u003c/b> is anything but an escapist flick.\u003c/p>\n\u003cp>The Bay Area filmmakers (who hail from Portland originally) take the now-standard documentary approach of introducing a few offbeat but recognizable characters, then follow their journey through an uncommon experience. The setting here is the Rock ‘n’ Roll Camp for Girls, a rowdy, unruly mess o’ gals age eight to eighteen. The week begins with each camper picking her favored genre (from pop to hip-hop, with every stop in-between), and embarking on the awkward and intense process of forming a band with other kids under the same banner. Choosing a name seems to be the most stressful activity; writing original songs, rehearsing and performing at the closing-night blowout isn’t half as threatening to the average girl’s self-esteem.\u003c/p>\n\u003cp>At least that’s the case with Misty, a tough-talking but charming teenager who’s gone through a stretch of homelessness and drug abuse and has a miniscule fuse for any perceived slight. Good thing she’s not in a band with eight-year-old Amelia, who dominates and intimidates her wee peers with screeching lyrics and shrieking guitar. Another tyro terror, Palace, has the preternatural poise, posture and calculated self-awareness of a junior beauty pageant contestant, which makes her mother justifiably concerned that she’s way too appearance-obsessed.\u003c/p>\n\u003cp>Reactions will vary, but this middle-aged male discerned a good deal of pain behind the façade each girl has constructed to conceal her adolescent insecurities. By comparison, perpetually embarrassed heavy-metal misfit Laura — an outgoing Korean adoptee from Oklahoma (!) — appears downright healthy. At least someday she’ll outgrow her proclivity for voicing every goofy, self-deprecating thought that pops into her head. The other girls will have more difficulty shedding the personae they’ve devised to deal with the world.\u003c/p>\n\u003cp>This is \u003cb>Girls Rock\u003c/b>‘s powerful central theme, that it’s not just crazy-hard growing up female in America, but it’s getting harder earlier. Consider this factoid, one of many strewn throughout the film, “In 1970, the average age for girls to start dieting was 14. By 1990 it was 8.” We are provided this unsettling news in arresting fashion, via local filmmaker Liz Canning’s animated interludes mimicking the lo-fi, handmade style of zines, scrapbooks and ransom notes. Backed by abrasive guitar rock, her sequences supply a wealth of sobering statistics with a wholly appropriate shot of edge and energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re more inclined to accentuate the positive, the doc features plenty of affirming interviews with camp teachers and administrators (mostly tattooed rockers, of course) and giddy shots of girls starting to own their instrument. The closing night concert — not a competition, thankfully, so you needn’t dread another teen sports climax a la \u003cb>Spellbound\u003c/b> or \u003cb>Mad Hot Ballroom\u003c/b> — is inescapably heartwarming. The effect is enhanced by King and Johnson’s smart decision not to build up to the show throughout the movie; when each band hits the stage, we simply expect the four main girls to experience a sense of completion rather than a lightning moment of life-altering transformation.\u003c/p>\n\u003cp>That said, the upbeat ending isn’t completely earned. Good vibes surround the showcase concert, but we’re told about the ground each girl has covered over the previous five days instead of truly witnessing it for ourselves. What the film does reveal, most viscerally in the band dynamics — and this is what makes \u003cb>Girls Rock!\u003c/b> both a savvy and savage film — are the hostilities and turf wars that erupt when girls are compelled to cooperate with each other. As mean as boys and men are, sisters aren’t slouches about doin’ it to themselves.\u003c/p>\n\u003cp>Moviegoers are pretty well assured of walking out of \u003cb>Girls Rock!\u003c/b> with a contact high, jazzed about the growth opportunity that Rock ‘n’ Roll Camp for Girls afforded Amelia, Misty, Laura and Palace. The film’s longer-lasting contribution, though, is the degree of serious discussion, and reflection, it inspires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b> opens Friday, March 7, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck in Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s so easy for us to over think our reactions to new music. The first time we hear a track or album, only one question should really matter: Is it any good? But, more realistically, the question we ask is “do \u003ci>I\u003c/i> like it?” And, before we know it, our pet peeves and personal prejudices are getting involved, and we’re well on the way to over thinking things.\u003c/p>\n\u003cp>For example, I have a terrible tendency to write off new artists unless they astonish me within the space of a single song, and/or sound incredibly different to anything I’ve heard before. Unfortunately, the first time I listened to \u003cb>Delayer\u003c/b>, the new album by Oakland’s \u003ca href=\"http://theheavenlystates.com/\" target=\"offsite\" rel=\"noopener\">The Heavenly States\u003c/a>, it achieved neither. But it had arrived recommended, so I persevered. Then, a few days later, I found myself happily humming the bouncy hook to album opener “Morning Exercise” while I was doing the washing up, and I realized I had been smitten.\u003c/p>\n\u003cp>Of course, I’m not saying this album is about to rewrite musical history after all, only that it was unreasonable to condemn it out of hand for this reason alone. After all, even those few recordings that do arrive like an incredible bolt from the blue and sound as if they’re going to turn the pop universe upside down, normally achieve something much, much less. Such as when I excitedly play some “amazing” new band to a friend, only to have them reply: “Oh, they just sound like [insert name of other, older, smugly obscure artist here].”\u003c/p>\n\u003cp>Instead of attempting to serve up a musical revolution, \u003cb>Delayer\u003c/b> concentrates on simpler pleasures. In particular, the first three tracks pop out of the traps with a gleeful, driving rush that, after a few listens, is hard to resist. The album does lose a little momentum in the middle, but there is enough quality on either side of this flat spot to compensate.\u003c/p>\n\u003cp>Highlights include “Lost in the Light,” which recalls the Velvet Underground circa \u003cb>Loaded\u003c/b>, the slower-paced “Make Up,” which breathes the same melancholic air as Jane’s Addiction in their quieter moments, and “The System,” which is propelled by the kind of squalling guitar riff that would have rocked just as hard in any decade out of the past five, but sounds none the worse for it. In fact, this is probably one of the keys to the band’s charm. Like The Raconteurs (to pick another recent example), they aren’t doing anything particularly new, they’re just doing it well. And, of course, it also helps that Ted Nesseth sings as if he was ordained to front a rock band from birth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s probably no coincidence that The Heavenly States remind me of a few other pop-edged indie outfits I grew to appreciate despite some initial misgivings. These include \u003ca href=\"http://www.theshins.com/\" target=\"offsite\" rel=\"noopener\">The Shins\u003c/a> (although with a bit more balls, which is no bad thing), \u003ca href=\"http://www.razorlight.co.uk/\" target=\"offsite\" rel=\"noopener\">Razorlight\u003c/a> (particularly at the start of “Pretty Life”) and \u003ca href=\"http://www.dandywarhols.com/index.php\" target=\"offsite\" rel=\"noopener\">The Dandy Warhols\u003c/a>.\u003c/p>\n\u003cp>In fact, this last example seems the most apt. When \u003cb>Thirteen Tales from Urban Bohemia\u003c/b> came out, I was working in an office with a stereo that seemingly had no “off” button, and just two volume settings: loud and louder. Once I got used to the noise levels, I discovered this arrangement offered two great benefits. The first was the Pepsi-challenge “blind taste test” effect; that is, hearing new music without first knowing who it’s by, which removed a great deal of personal prejudice from the equation. And the second was that even if I didn’t like something straight away, the chances were that someone else did, and I’d end up hearing it a few more times before my opinions hardened enough to complain.\u003c/p>\n\u003cp>Of course, the down side was ending up in a conversation that started with me explaining to a work colleague precisely why I’d always hated The Dandy Warhols and then going on to ask what was playing on the stereo because I really liked it. I’m sure you can guess the rest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Heavenly States’ record release party is at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on March 7, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s so easy for us to over think our reactions to new music. The first time we hear a track or album, only one question should really matter: Is it any good? But, more realistically, the question we ask is “do \u003ci>I\u003c/i> like it?” And, before we know it, our pet peeves and personal prejudices are getting involved, and we’re well on the way to over thinking things.\u003c/p>\n\u003cp>For example, I have a terrible tendency to write off new artists unless they astonish me within the space of a single song, and/or sound incredibly different to anything I’ve heard before. Unfortunately, the first time I listened to \u003cb>Delayer\u003c/b>, the new album by Oakland’s \u003ca href=\"http://theheavenlystates.com/\" target=\"offsite\" rel=\"noopener\">The Heavenly States\u003c/a>, it achieved neither. But it had arrived recommended, so I persevered. Then, a few days later, I found myself happily humming the bouncy hook to album opener “Morning Exercise” while I was doing the washing up, and I realized I had been smitten.\u003c/p>\n\u003cp>Of course, I’m not saying this album is about to rewrite musical history after all, only that it was unreasonable to condemn it out of hand for this reason alone. After all, even those few recordings that do arrive like an incredible bolt from the blue and sound as if they’re going to turn the pop universe upside down, normally achieve something much, much less. Such as when I excitedly play some “amazing” new band to a friend, only to have them reply: “Oh, they just sound like [insert name of other, older, smugly obscure artist here].”\u003c/p>\n\u003cp>Instead of attempting to serve up a musical revolution, \u003cb>Delayer\u003c/b> concentrates on simpler pleasures. In particular, the first three tracks pop out of the traps with a gleeful, driving rush that, after a few listens, is hard to resist. The album does lose a little momentum in the middle, but there is enough quality on either side of this flat spot to compensate.\u003c/p>\n\u003cp>Highlights include “Lost in the Light,” which recalls the Velvet Underground circa \u003cb>Loaded\u003c/b>, the slower-paced “Make Up,” which breathes the same melancholic air as Jane’s Addiction in their quieter moments, and “The System,” which is propelled by the kind of squalling guitar riff that would have rocked just as hard in any decade out of the past five, but sounds none the worse for it. In fact, this is probably one of the keys to the band’s charm. Like The Raconteurs (to pick another recent example), they aren’t doing anything particularly new, they’re just doing it well. And, of course, it also helps that Ted Nesseth sings as if he was ordained to front a rock band from birth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s probably no coincidence that The Heavenly States remind me of a few other pop-edged indie outfits I grew to appreciate despite some initial misgivings. These include \u003ca href=\"http://www.theshins.com/\" target=\"offsite\" rel=\"noopener\">The Shins\u003c/a> (although with a bit more balls, which is no bad thing), \u003ca href=\"http://www.razorlight.co.uk/\" target=\"offsite\" rel=\"noopener\">Razorlight\u003c/a> (particularly at the start of “Pretty Life”) and \u003ca href=\"http://www.dandywarhols.com/index.php\" target=\"offsite\" rel=\"noopener\">The Dandy Warhols\u003c/a>.\u003c/p>\n\u003cp>In fact, this last example seems the most apt. When \u003cb>Thirteen Tales from Urban Bohemia\u003c/b> came out, I was working in an office with a stereo that seemingly had no “off” button, and just two volume settings: loud and louder. Once I got used to the noise levels, I discovered this arrangement offered two great benefits. The first was the Pepsi-challenge “blind taste test” effect; that is, hearing new music without first knowing who it’s by, which removed a great deal of personal prejudice from the equation. And the second was that even if I didn’t like something straight away, the chances were that someone else did, and I’d end up hearing it a few more times before my opinions hardened enough to complain.\u003c/p>\n\u003cp>Of course, the down side was ending up in a conversation that started with me explaining to a work colleague precisely why I’d always hated The Dandy Warhols and then going on to ask what was playing on the stereo because I really liked it. I’m sure you can guess the rest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Heavenly States’ record release party is at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on March 7, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"closealltabs": {
"id": "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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"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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},
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"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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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