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"content": "\u003cp>The Greek myth of Orpheus is a timeless legend about the power and futility of human love, in which Orpheus, a gifted musician, braves the dangers of the underworld to beg for the return of his beloved Eurydice. It’s been a popular subject for centuries, with composers inspired by the sacred ideals of love and music as embodied by Orpheus’ pursuit of his beloved even in death.\u003c/p>\n\u003cp>But if you like your Greek mythology with a little more spice, then read on! Everything is turned upside down in Jacques Offenbach’s 1858 operetta \u003cb>Orpheus in the Underworld\u003c/b>. Instead of a noble pair of lovers, Orpheus is now a conceited music professor pursuing nymphs while his wife Eurydice hates his music and is having an affair with a shepherd. Instead of noble gods and goddesses led by the brave Jupiter, Mount Olympus is populated by bored and dissolute deities who can’t wait to revolt against Jupiter’s hypocritical reign. There is seduction, infidelity, sexual innuendo, and inebriation. There’s even an infectious can-can.\u003c/p>\n\u003cp>\u003cb>Orpheus in the Underworld\u003c/b> is the opening production of Pocket Opera’s 2008 season. For more than thirty years, Pocket Opera has been presenting intimate, accessible opera productions to Bay Area audiences, performing mostly in English with translations by the company’s founder, Donald Pippin. Now in his early eighties, Pippin still leads from the piano and introduces each scene with brevity and wit. His libretti are clever, flexible, and accessible. Pippin believes in translating “the spirit of the work rather than word by word, with complete fidelity to the composer’s musical intentions” and the translations serve the singers, audience, and original texts alike.\u003c/p>\n\u003cp>Pocket Opera works in small houses with minimal sets, costumes, and staging. The orchestra is small, usually 8-15 instrumentalists with Pippin at the piano. There is none of the pomp and circumstance that you can expect from larger operatic productions, which often include dramatic set changes, elaborate costumes and even animals onstage (I’ve seen everything from a toy poodle to an elephant!). Pocket Opera’s \u003cb>Orpheus\u003c/b> is both approachable and enjoyable, but there’s also nowhere to hide — during opening night, on the few occasions when a line was missed or the singers and orchestra were out of sync, you could tell immediately.\u003c/p>\n\u003cp>While energetic and committed, the cast possessed a wide range of vocal and dramatic ability. The production was anchored by Jillian Boye’s excellent performance as Eurydice. She brought a powerful voice, good comedic instincts and a vivacious presence to the role. Michael Mendelsohn was a hilarious Pluto, changing easily from seductive to scheming to silly as the situation required. In smaller roles, Jennifer Nadig as Venus and Julia Louise Hosack as Diana stood out for their bright singing and comic energy. A bit less comfortable when singing, Nicholas Patton as Orpheus and Donna Olson as Public Opinion were persuasive and funny during their speaking parts. Public Opinion’s characterization as a member of the paparazzi, frequently snapping pictures of the main characters, was an amusing modern touch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Orpheus in the Underworld\u003c/b> is an operetta, a light comedic genre that is frequently performed in English. As a result, this production lacks the sense of revelation that can come from seeing a well-known foreign work performed in a good translation. The rest of Pocket Opera’s season includes plenty of opportunities to see English versions of familiar favorites that are usually performed in foreign languages, including Mozart’s \u003cb>Cosi Fan Tutte\u003c/b> and Puccini’s \u003cb>La Bohème\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pocket Opera’s \u003cb>Orpheus in the Underworld\u003c/b> runs through March 15, 2008 at the Legion of Honor, located in Lincoln Park at 34th Avenue and Clement Street in San Francisco. For \u003ca href=\"http://www.pocketopera.org/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit pocketopera.org or call 415-972-8934.\u003c/p>\n\n",
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"content": "\u003cp>Listening to \u003ca href=\"http://www.britishseapower.co.uk/\" target=\"offsite\" rel=\"noopener\">British Sea Power\u003c/a>‘s new album \u003cb>Do You Like Rock Music?\u003c/b> is a frustrating experience. Not because it’s rubbish (it’s actually very good, and the band’s best yet) but because it gives the impression it would sound even better live.\u003c/p>\n\u003cp>For all the great technological advances, leaps, and bounds currently shaking the music industry, the live experience has remained important and popular. Because, no matter how clever widgets such as MP3s and internet streaming are, the best way to really rate an artist is still to see them in the flesh.\u003c/p>\n\u003cp>For example, I’m much more likely to feel favourably towards a band I’ve seen rearrange the essential matter of the universe on stage, but who can’t quite bottle that alchemy on record, than one who produces a breathtaking album they can’t reproduce live.\u003c/p>\n\u003cp>This isn’t an absolute rule, of course, particularly as some types of music are much easier to play live than others. However, seeing a band live is also important as it allows me to gauge one of the essential measures of whether I truly love any particular act: how seriously they take themselves.\u003c/p>\n\u003cp>Consider the example of my brief, starcrossed love affair with the British dance act \u003ca href=\"http://www.arista.com/faithless/home.html\" target=\"offsite\" rel=\"noopener\">Faithless\u003c/a>. When I first heard them, I thought they were AWESOME. They took all the cheesiest, silliest, most overblown bits of modern dance music, and combined them into a fantastic festival of fromage-flavored fun. It was hands-in-the-air silly, and I loved it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was, until I saw them live. As soon as they started playing, I came to a horrifying realization: This wasn’t a knowing, clever pastiche. They actually meant it. Not only that, but they were incredibly, deadly serious. Rarely have I seen a more joyless band on stage, before or since.\u003c/p>\n\u003cp>English eccentrics British Sea Power could so easily have fallen into a similar pothole. Many of their anthemic indie peers certainly seem to have (consider the dreary dirges of \u003ca href=\"http://www.embrace.co.uk/\" target=\"offsite\" rel=\"noopener\">Embrace\u003c/a>, \u003ca href=\"http://www.snowpatrol.com/\" target=\"offsite\" rel=\"noopener\">Snow Patrol\u003c/a>, and so on). Instead, BSP produce rousing music that comes armed with a much-needed injection of levity.\u003c/p>\n\u003cp>Famous for playing on stages festooned with foliage and dressing like the paramilitary wing of the Boy Scout movement circa 1940, their new album contains many signs that they are fully aware of life’s absurdities. For example, “Waving Flags” is a song about immigration with an unlikely focus: “You are astronomical / fans of alcohol / so welcome in.” Meanwhile, “Atom” doesn’t just mention the phrase “caveat emptor” but makes it the wickedly catchy chorus of a song about, er, nuclear physics. And the chant of “easy, easy” in “No Lucifer” is in homage to a hero of \u003ca href=\"http://www.bbc.co.uk/dna/h2g2/A978348\" target=\"offsite\" rel=\"noopener\">British Wrestling\u003c/a>.\u003c/p>\n\u003cp>The paradox in this case is that, with such firmly frivolous credentials on record, the onus is going to be on BSP to prove they can seriously rock live. And there’s only one way to find THAT out…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>British Sea Power play \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> as part of \u003ca href=\"http://noisepop.com/2008/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> on March 1, 2008. Tickets are available at the door only. \u003cb>Do You Like Rock Music?\u003c/b> is out now on \u003ca href=\"http://worlds-fair.net/british_sea_power/\" target=\"offsite\" rel=\"noopener\">Rough Trade/World’s Fair\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>Opera San José’s current production of Giuseppe Verdi’s \u003cb>Rigoletto\u003c/b> gives you your Verdi straight. The opera is simply staged, with traditional costumes and sets. This is not a production that seeks new interpretations or insights by updating or rethinking the opera. Instead, with strong singing and acting from the leads and the ensemble, the brilliance of the score and the drama of the carefully constructed libretto by Francesco Maria Piave come alive.\u003c/p>\n\u003cp>Opera San José maintains a resident company, meaning that many of the singers stay with the company for at least a year and perform a variety of roles throughout the season. Working primarily with young singers early in their careers, Opera San José offers them opportunities to perform significant roles and to work together as a company over time. Many of the productions, including this one, are double cast.\u003c/p>\n\u003cp>A quick synopsis: Rigoletto is a hunchbacked court jester for the corrupt and licentious Duke of Mantua. In the opening scene, Rigoletto is cursed by a nobleman whose daughter has been ruined by the Duke. The curse terrifies Rigoletto because he has a daughter, Gilda, whom he is keeping secluded in order to protect her from the decadent court. Despite Rigoletto’s precautions, the Duke seduces Gilda. Rigoletto swears revenge and plots to kill the Duke, but unbeknownst to him Gilda decides to sacrifice herself for love and is killed instead. At the end of the opera, Rigoletto discovers her body and is devastated at the loss of the only thing he loved in the world.\u003c/p>\n\u003cp>In this performance, Rigoletto, Gilda, and the Duke were all portrayed by strong singers and actors with specific and believable approaches to their roles. Andrew Fernando physically embodied the challenging role of Rigoletto, limping heavily on one leg. While he sometimes strained in the upper register, he had a rich lower sound and conveyed a sense of barely contained fury and frustration. As the Duke, Isaac Hurtado sang with a smooth tenor and had a charm that recalled the iconic high school golden boy… star athlete, top student, president of the class. But the Duke’s magnetism is equaled only by his indifference to the suffering that he leaves in his wake. As Gilda, Rochelle Bard enchanted the audience with a bright tone and floating coloratura. Gilda came alive as she fell in love with the Duke, transforming from an uneasily obedient child into a more complex and confident young woman.\u003c/p>\n\u003cp>In the overture the orchestra set the tone for the dark story to come, creating a foreboding mood that clashed with the hedonistic laughter of the opening scene. Soon after Rigoletto’s terror came through clearly as he recalled the old man’s curse in a dotted rhythm echoing another famous avenging father of opera, the Commendatore in Mozart’s \u003cb>Don Giovanni\u003c/b>. But some of the most stirring moments of the evening were quieter, including Bard’s riveting and seemingly effortless performance of the virtuosic ‘Caro nome” in which Gilda recalls the name of her beloved. Another quietly compelling scene occurred in Rigoletto and Gilda’s duet in Act II, after Rigoletto discovered that the Duke seduced his daughter. The father and daughter began standing apart from each other but the music slowly united them for a rare moment in which forgiveness trumped vengeance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Melodrama at the level and intensity established during the first two acts is difficult to sustain, and there was a noticeable drop in energy during the third act. But overall the performers had enough commitment and emotion to keep audience members on the edges of their seats. With this \u003cb>Rigoletto\u003c/b>, Opera San José offers a strong and compelling production of one of Italian opera’s great masterpieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Opera San José’s production of \u003cb>Rigoletto\u003c/b> is at the California Theatre through Sunday, February 24, 2008. The California Theatre is located at 345 South First Street, San José. For \u003ca href=\"http://www.operasj.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.operasj.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera San José’s current production of Giuseppe Verdi’s \u003cb>Rigoletto\u003c/b> gives you your Verdi straight. The opera is simply staged, with traditional costumes and sets. This is not a production that seeks new interpretations or insights by updating or rethinking the opera. Instead, with strong singing and acting from the leads and the ensemble, the brilliance of the score and the drama of the carefully constructed libretto by Francesco Maria Piave come alive.\u003c/p>\n\u003cp>Opera San José maintains a resident company, meaning that many of the singers stay with the company for at least a year and perform a variety of roles throughout the season. Working primarily with young singers early in their careers, Opera San José offers them opportunities to perform significant roles and to work together as a company over time. Many of the productions, including this one, are double cast.\u003c/p>\n\u003cp>A quick synopsis: Rigoletto is a hunchbacked court jester for the corrupt and licentious Duke of Mantua. In the opening scene, Rigoletto is cursed by a nobleman whose daughter has been ruined by the Duke. The curse terrifies Rigoletto because he has a daughter, Gilda, whom he is keeping secluded in order to protect her from the decadent court. Despite Rigoletto’s precautions, the Duke seduces Gilda. Rigoletto swears revenge and plots to kill the Duke, but unbeknownst to him Gilda decides to sacrifice herself for love and is killed instead. At the end of the opera, Rigoletto discovers her body and is devastated at the loss of the only thing he loved in the world.\u003c/p>\n\u003cp>In this performance, Rigoletto, Gilda, and the Duke were all portrayed by strong singers and actors with specific and believable approaches to their roles. Andrew Fernando physically embodied the challenging role of Rigoletto, limping heavily on one leg. While he sometimes strained in the upper register, he had a rich lower sound and conveyed a sense of barely contained fury and frustration. As the Duke, Isaac Hurtado sang with a smooth tenor and had a charm that recalled the iconic high school golden boy… star athlete, top student, president of the class. But the Duke’s magnetism is equaled only by his indifference to the suffering that he leaves in his wake. As Gilda, Rochelle Bard enchanted the audience with a bright tone and floating coloratura. Gilda came alive as she fell in love with the Duke, transforming from an uneasily obedient child into a more complex and confident young woman.\u003c/p>\n\u003cp>In the overture the orchestra set the tone for the dark story to come, creating a foreboding mood that clashed with the hedonistic laughter of the opening scene. Soon after Rigoletto’s terror came through clearly as he recalled the old man’s curse in a dotted rhythm echoing another famous avenging father of opera, the Commendatore in Mozart’s \u003cb>Don Giovanni\u003c/b>. But some of the most stirring moments of the evening were quieter, including Bard’s riveting and seemingly effortless performance of the virtuosic ‘Caro nome” in which Gilda recalls the name of her beloved. Another quietly compelling scene occurred in Rigoletto and Gilda’s duet in Act II, after Rigoletto discovered that the Duke seduced his daughter. The father and daughter began standing apart from each other but the music slowly united them for a rare moment in which forgiveness trumped vengeance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Melodrama at the level and intensity established during the first two acts is difficult to sustain, and there was a noticeable drop in energy during the third act. But overall the performers had enough commitment and emotion to keep audience members on the edges of their seats. With this \u003cb>Rigoletto\u003c/b>, Opera San José offers a strong and compelling production of one of Italian opera’s great masterpieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Opera San José’s production of \u003cb>Rigoletto\u003c/b> is at the California Theatre through Sunday, February 24, 2008. The California Theatre is located at 345 South First Street, San José. For \u003ca href=\"http://www.operasj.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.operasj.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If everything was right with the world, then the new \u003ca href=\"http://www.american-music-club.com/index.html\" target=\"offsite\" rel=\"noopener\">American Music Club\u003c/a> album would be an absolute stinker.\u003c/p>\n\u003cp>Consider the evidence: The band only recently reformed after a decade-long break. And, as if having the “reunion” tag hanging over them wasn’t bad enough, three members of the band have since left, leaving only singer Mark Eitzel and guitarist Vudi to record and tour a new album with a replacement rhythm section. Not only that, but the record they have finally come up with has a song about the World Trade Center on it. Uh-oh.\u003c/p>\n\u003cp>Perhaps most troubling of all is the apparent change in Mark Eitzel’s mental state over the past few years. He has always been the band’s artistic focal point and, after many years of being a reluctant, awkward, and famously depressed poster boy for wretchedly miserable music fans the world over, these days Eitzel seems much happier and more comfortable in himself: almost cheerful, in fact. Could things get any worse?\u003c/p>\n\u003cp>Let’s face it: if there’s one thing — ONE thing — we all know to be absolutely true about the world of modern music, it’s that artists make better records when they are battling the demons of depression and dependancy. As Marvin Gaye said “great artists suffer for the people” and, as Eitzel’s back catalog proves, he has suffered more than most.\u003c/p>\n\u003cp>Amazingly, despite all of this, and perhaps even because of a lot of it, \u003cb>The Golden Age\u003c/b> is a genuine triumph. Eitzel’s new-found contentment may rob the new album of some of the blacker, bleaker extremes of AMC records past, but this is no bad thing. It means instead that the songs are now better balanced, with more space for hope, humor, and redemption.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album’s sound is also more mellow, making full use of excellent back-up harmonies from new recruits Sean Hoffman on bass and drummer Steve Didelot. The opening and closing songs “All My Love” and “The Grand Duchess of San Francisco” have a beautifully muted delicacy, and there are moments in between that could almost be described as easy listening. Just like Nick Cave could make a credible metamorphosis from hardcore punk to crooning lounge lizard precisely because of, rather than in spite of, his Birthday Party past, so Eitzel has made his move towards the middle of the road with authority after a turbulent life spent on the fringes. This is the cathartic sound of the calm after the storm.\u003c/p>\n\u003cp>Not that it is all light and grace. Even in the album’s mellowest moments, Vudi’s guitar carries the threat of something darker, always hinting at distortion and feedback despite (mostly) holding it in check. And the demons of Eitzel’s past are rarely far away either, as lines such as the repeating “no one here is going to save you” chorus from “The Decibels and the Little Pills” remind us.\u003c/p>\n\u003cp>And, yes, there really is a song about the World Trade Center. “The Windows on the World” is about a party in the restaurant that once topped the North Tower, which Eitzel was taken to by a friend. But gone are the overt politics and righteous anger of 2004’s comeback album \u003cb>Love Songs For Patriots\u003c/b> when, for example, Uncle Sam was recast as a desperate male stripper in “Patriot’s Heart.” Instead, this song is not only quietly poignant, but also funny: “I said to Kit, look at me, look at me, I’m on top of the First World with a free beer / He said, don’t worry my dear, they’ll let any trash in here.”\u003c/p>\n\u003cp>In yet another apparent contradiction, the album also contains two songs about San Francisco, despite the fact that the band, if not Eitzel himself, is now based in Los Angeles. But the band’s roots will always lie in the Bay Area and, in particular, “All the Lost Souls Welcome You to San Francisco” captures the city’s charms in a way that ought to banish all mention of lost hearts and hair-based flora forever.\u003c/p>\n\u003cp>The fact that it probably won’t, shouldn’t distract us from how much this album achieves, and how many important lessons it teaches in the process. Reunions are OK. Change is good. Happy and sad aren’t mutually exclusive. And, everything being right with the world isn’t necessarily a good thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Golden Age\u003c/b> is released February 19, 2008 on \u003ca href=\"http://www.mergerecords.com/band.php?band_id=99&\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>. American Music Club begin their US tour at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 2, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album’s sound is also more mellow, making full use of excellent back-up harmonies from new recruits Sean Hoffman on bass and drummer Steve Didelot. The opening and closing songs “All My Love” and “The Grand Duchess of San Francisco” have a beautifully muted delicacy, and there are moments in between that could almost be described as easy listening. Just like Nick Cave could make a credible metamorphosis from hardcore punk to crooning lounge lizard precisely because of, rather than in spite of, his Birthday Party past, so Eitzel has made his move towards the middle of the road with authority after a turbulent life spent on the fringes. This is the cathartic sound of the calm after the storm.\u003c/p>\n\u003cp>Not that it is all light and grace. Even in the album’s mellowest moments, Vudi’s guitar carries the threat of something darker, always hinting at distortion and feedback despite (mostly) holding it in check. And the demons of Eitzel’s past are rarely far away either, as lines such as the repeating “no one here is going to save you” chorus from “The Decibels and the Little Pills” remind us.\u003c/p>\n\u003cp>And, yes, there really is a song about the World Trade Center. “The Windows on the World” is about a party in the restaurant that once topped the North Tower, which Eitzel was taken to by a friend. But gone are the overt politics and righteous anger of 2004’s comeback album \u003cb>Love Songs For Patriots\u003c/b> when, for example, Uncle Sam was recast as a desperate male stripper in “Patriot’s Heart.” Instead, this song is not only quietly poignant, but also funny: “I said to Kit, look at me, look at me, I’m on top of the First World with a free beer / He said, don’t worry my dear, they’ll let any trash in here.”\u003c/p>\n\u003cp>In yet another apparent contradiction, the album also contains two songs about San Francisco, despite the fact that the band, if not Eitzel himself, is now based in Los Angeles. But the band’s roots will always lie in the Bay Area and, in particular, “All the Lost Souls Welcome You to San Francisco” captures the city’s charms in a way that ought to banish all mention of lost hearts and hair-based flora forever.\u003c/p>\n\u003cp>The fact that it probably won’t, shouldn’t distract us from how much this album achieves, and how many important lessons it teaches in the process. Reunions are OK. Change is good. Happy and sad aren’t mutually exclusive. And, everything being right with the world isn’t necessarily a good thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Golden Age\u003c/b> is released February 19, 2008 on \u003ca href=\"http://www.mergerecords.com/band.php?band_id=99&\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>. American Music Club begin their US tour at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 2, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 7pm on most Monday nights, JJ’s Blues is about as quiet as you’d expect a dive with modest signage on Stevens Creek Boulevard to be. Melissa is standing behind the long counter, chatting with a couple of regulars while pouring an irregular, me, a drink. Johnnie, the proprietor of San Jose’s most venerable blues club, is dividing his attention between a computer, to update the online calendar for the club’s website, and a mixing board. On stage, singer, guitarist, and all-around swell guy Peter Stanley is prattling into a microphone and noodling on his red Gibson Firebird to check and double check the levels in the monitors. Looking up, Johnnie lifts a hand from the keyboard, turns just three of the board’s hundred or so dials, and returns to his task. He’s been here before.\u003c/p>\n\u003cp>Kneeling next to Stanley, harmonica player Brad Kava aims a penlight into an equipment case to fish out a harp. Behind Kava, Chris Trevisan warms up at his keyboard, switching variously from a punchy Fender Rhodes sound to the heavenly tones of a Hammond B-3. Meanwhile, the rhythm section (Gregory Sandoval on drums and John Braselton on bass) crash and rumble through their pre-show calisthenics. Doghouse Riley is about to tear up JJ’s postage-stamp stage, and it doesn’t seem to bother anyone that there are currently more people up there than in the audience. Wait, scratch that; here come a couple of friends.\u003c/p>\n\u003cp>Doghouse Riley has been filling the early-show slot at JJ’s three Mondays a month for two years now. A jam of local pros, some of whom play in bands fronted by the likes of Carlos Santana, follows at around 9 or 9:30, depending on how long it takes Doghouse Riley to pack up its gear. With rare exceptions there’s no cover at JJ’s on Sunday through Thursday, so a working stiff like me can begin the week with a couple of beers, an hour or two of what Stanley jokingly calls “the suburban blues,” and still be home by 10.\u003c/p>\n\u003cp>Kidding aside, suburban blues is not a terrible description for Doghouse Riley’s music. Yes you’ll hear traditional blues chestnuts like “Born Under A Bad Sign,” “Mama Talk To Your Daughter,” and “If You Love Me Like You Say,” but the band also sprinkles more contemporary covers into its set, including ZZ Top’s, “Jesus Just Left Chicago” and, on a recent night, no less than two Steely Dan numbers (“That was a song by those great blues pioneers, Donald Fagen and Walter Becker,” Kava jokes after grinding through “Pretzel Logic”).\u003c/p>\n\u003cp>Which is not to suggest that Doghouse Riley is just another cover band. These guys are serious about their music and respectful of its roots, although never morbidly so. Kava is a man possessed when he’s wailing on his harp, producing everything from low freight-train moans to those classic harmonica squeaks; by the end of the 90-plus minute set he’s pretty much drenched. Trevisan varies his sound from song to song, sometimes exploring synthesized tones that you might expect from Steve Molitz of Particle, other times channeling the great Jimmy Smith. As for Stanley, he finds ways to surprise his audience all night long, crafting fluid leads that benefit from an intuitive touch, a deft hand when speed is the need, and a willingness to simply have some fun (the Los Lobos rocker “Don’t Worry Baby” is interrupted, but only once, by the famous Jimmy Page riff in Led Zeppelin’s head-banger anthem “How Many More Times”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>JJ’s is the perfect place for this sort of thing. The walls of the long, narrow space are covered by lots of mirrors and even more photographs of famous blues artists, many of whom make regular pilgrimages to tiny JJ’s when they are passing through town on tours that typically take them to larger, more lucrative rooms. There are also pictures of people you’ve never heard of, which is an important part of Johnnie’s mission for JJ’s: to give emerging artists a safe and friendly place where they can refine their craft.\u003c/p>\n\u003cp>That’s why Doghouse Riley is here on Monday nights. It certainly isn’t for the money. At the end of the evening, as the band members are loading amps and instruments into their cars, Stanley hands each player a five-dollar bill, an equal share from the night’s tip jar. Even in the suburbs, you’ve got to suffer if you want to sing the blues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doghouse Riley plays every Monday, except the first Monday of the month, at JJ’s Blues, 3439 Stevens Creek Blvd., San Jose; (408) 243-6441. Music starts about 7pm and admission is free. 21 and over.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 7pm on most Monday nights, JJ’s Blues is about as quiet as you’d expect a dive with modest signage on Stevens Creek Boulevard to be. Melissa is standing behind the long counter, chatting with a couple of regulars while pouring an irregular, me, a drink. Johnnie, the proprietor of San Jose’s most venerable blues club, is dividing his attention between a computer, to update the online calendar for the club’s website, and a mixing board. On stage, singer, guitarist, and all-around swell guy Peter Stanley is prattling into a microphone and noodling on his red Gibson Firebird to check and double check the levels in the monitors. Looking up, Johnnie lifts a hand from the keyboard, turns just three of the board’s hundred or so dials, and returns to his task. He’s been here before.\u003c/p>\n\u003cp>Kneeling next to Stanley, harmonica player Brad Kava aims a penlight into an equipment case to fish out a harp. Behind Kava, Chris Trevisan warms up at his keyboard, switching variously from a punchy Fender Rhodes sound to the heavenly tones of a Hammond B-3. Meanwhile, the rhythm section (Gregory Sandoval on drums and John Braselton on bass) crash and rumble through their pre-show calisthenics. Doghouse Riley is about to tear up JJ’s postage-stamp stage, and it doesn’t seem to bother anyone that there are currently more people up there than in the audience. Wait, scratch that; here come a couple of friends.\u003c/p>\n\u003cp>Doghouse Riley has been filling the early-show slot at JJ’s three Mondays a month for two years now. A jam of local pros, some of whom play in bands fronted by the likes of Carlos Santana, follows at around 9 or 9:30, depending on how long it takes Doghouse Riley to pack up its gear. With rare exceptions there’s no cover at JJ’s on Sunday through Thursday, so a working stiff like me can begin the week with a couple of beers, an hour or two of what Stanley jokingly calls “the suburban blues,” and still be home by 10.\u003c/p>\n\u003cp>Kidding aside, suburban blues is not a terrible description for Doghouse Riley’s music. Yes you’ll hear traditional blues chestnuts like “Born Under A Bad Sign,” “Mama Talk To Your Daughter,” and “If You Love Me Like You Say,” but the band also sprinkles more contemporary covers into its set, including ZZ Top’s, “Jesus Just Left Chicago” and, on a recent night, no less than two Steely Dan numbers (“That was a song by those great blues pioneers, Donald Fagen and Walter Becker,” Kava jokes after grinding through “Pretzel Logic”).\u003c/p>\n\u003cp>Which is not to suggest that Doghouse Riley is just another cover band. These guys are serious about their music and respectful of its roots, although never morbidly so. Kava is a man possessed when he’s wailing on his harp, producing everything from low freight-train moans to those classic harmonica squeaks; by the end of the 90-plus minute set he’s pretty much drenched. Trevisan varies his sound from song to song, sometimes exploring synthesized tones that you might expect from Steve Molitz of Particle, other times channeling the great Jimmy Smith. As for Stanley, he finds ways to surprise his audience all night long, crafting fluid leads that benefit from an intuitive touch, a deft hand when speed is the need, and a willingness to simply have some fun (the Los Lobos rocker “Don’t Worry Baby” is interrupted, but only once, by the famous Jimmy Page riff in Led Zeppelin’s head-banger anthem “How Many More Times”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>JJ’s is the perfect place for this sort of thing. The walls of the long, narrow space are covered by lots of mirrors and even more photographs of famous blues artists, many of whom make regular pilgrimages to tiny JJ’s when they are passing through town on tours that typically take them to larger, more lucrative rooms. There are also pictures of people you’ve never heard of, which is an important part of Johnnie’s mission for JJ’s: to give emerging artists a safe and friendly place where they can refine their craft.\u003c/p>\n\u003cp>That’s why Doghouse Riley is here on Monday nights. It certainly isn’t for the money. At the end of the evening, as the band members are loading amps and instruments into their cars, Stanley hands each player a five-dollar bill, an equal share from the night’s tip jar. Even in the suburbs, you’ve got to suffer if you want to sing the blues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doghouse Riley plays every Monday, except the first Monday of the month, at JJ’s Blues, 3439 Stevens Creek Blvd., San Jose; (408) 243-6441. Music starts about 7pm and admission is free. 21 and over.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Record sales rise and fall, entire genres of music come and go, even \u003ca href=\"http://www.thestar.com/entertainment/article/286195\" target=\"offsite\" rel=\"noopener\">interminable Las Vegas concert runs\u003c/a> occasionally come to an end. But one constant remains in the strange world that is the music industry — bands with rubbish names.\u003c/p>\n\u003cp>And there are two entirely separate, fun things you can do this month to remind yourself of this consistent source of both amusement and bemusement: \u003ca href=\"http://blackkidsmusic.com/\" target=\"offsite\" rel=\"noopener\">download\u003c/a> the excellent and totally free \u003cb>Wizzard of Ahhhs\u003c/b> EP by knowingly cool indie-pop outfit \u003ca href=\"http://www.myspace.com/blackkidsrock\" target=\"offsite\" rel=\"noopener\">Black Kids\u003c/a>, and go to \u003ca href=\"http://www.theindependentsf.com/jan2008.htm\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> on January 17, 2008 to see the similarly titled \u003ca href=\"http://www.myspace.com/gocoolkids\" target=\"offsite\" rel=\"noopener\">Cool Kids\u003c/a> perform their much-lauded retro-infused hip-hop.\u003c/p>\n\u003cp>One only needs to remember the middle-aged members of Sonic Youth to know why both Black Kids and Cool Kids have names that suck, and that’s before we cast our eyes over the other, troublesome parts of their titles. What makes the situation even more bewildering is that, while their music may be quite different, they share at least one other important trait less obvious than their names: they both seem to be savvy media operators.\u003c/p>\n\u003cp>For example, Black Kids are offering their debut as a free download, which is so painfully right now that it might even be in the future. And in a similarly up-to-the-minute move, The Cool Kids’ most recent step toward wider recognition was made by appearing in someone else’s TV advert. (You know the one: it features some dweeby guy dressed in a towel dancing around his living room, oblivious to the fact that a bizarrely contradictory bunch of musicians appear to have crept into his house while he wasn’t looking.) Such canny marketing moves make it hard to believe they arrived at the most important elements of their brand identities by accident.\u003c/p>\n\u003cp>What is hardest to fathom is why they have both appeared at the same time. Add the recently surfaced \u003ca href=\"http://www.coldwarkids.com/\" target=\"offsite\" rel=\"noopener\">Cold War Kids\u003c/a> and you virtually have a movement. Not so long ago, the same thing happened when proto-metallers Wolfmother, indie rockers Wolf Parade and the largely uncategorizable Patrick Wolf all began bothering the music scene at around the same time, which is not to mention the similarly named psychedelic Krautrockers Lupine Howl. Coincidence? Weirdly, there doesn’t seem to be any more logical explanation on offer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, it is also important to remember that even the worst epithet is rarely a barrier to sales success, at least not on its own. From the terrible pun that no one ever seems to notice on the cover of every Beatles record onwards, music history is littered with examples of acts who have sold many more records than their names ever deserved. So why not close your eyes and give the “kids” a chance. You might be pleasantly surprised.\u003c/p>\n\n",
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"content": "\u003cp>It is high praise indeed if you are playing a show and of the seven people in the audience three of them happen to be Robert Crumb, his wife Aileen and director Terry Zwigoff (\u003cb>Crumb\u003c/b>, \u003cb>Ghost World\u003c/b>, \u003cb>Bad Santa\u003c/b>). I had heard The Divine Jug Band a few weeks before at Papa Toby’s Revolution Cafe and was so impressed by their outrageous and just plain wacky performance that I traveled across town to Socha to catch them again. What I didn’t know was that their music was a favorite of the Crumbs and Zwigoff.\u003c/p>\n\u003cp>When the band finished, and people were milling about, two of the musicians started spontaneously playing a tune and singing quietly. I was standing just behind Mr. Crumb and to my surprise he began to sing along softly, just under his breath, I see he was smiling and they couldn’t hear him — but he knew all the words.\u003c/p>\n\u003cp>The Divine Jug Band plays their super hillbilly music at \u003ca href=\"http://sochacafe.com/\" target=\"offsite\" rel=\"noopener\">Socha\u003c/a> on Tuesdays, just a few doors down from the hip nightspot, Knockout. On a typical weeknight, dozens of drunk twenty-somethings get busy dancing to electronica while amazing music is going on next door at Socha. In addition to Socha, Andre and Jennifer Larzul also own \u003ca href=\"http://sanfrancisco.citysearch.com/profile/37229584\" target=\"offsite\" rel=\"noopener\">Papa Toby’s Revolution Cafe\u003c/a>, \u003ca href=\"http://www.alamosquareseafoodgrill.com/index.php\">Alamo Square Seafood Grill\u003c/a>, and \u003ca href=\"http://www.yelp.com/biz/bluejay-cafe-san-francisco\" target=\"offsite\" rel=\"noopener\">Bluejay Cafe\u003c/a>. Their cafes in the Mission are currently some of the best places in town to hear live music nearly every night of the week, and it’s all free.\u003c/p>\n\u003cp>Another musical treasure worth checking out is the ad hoc classical string section, which wavers between trio and septet (depending on their schedules), that appear at Revolution Cafe on Sunday evenings. This presents a solid alternative to the bar scene in the Mission, for those of us who have hungered for something to do at night without drinking. Now you can sip your tea and listen to Beethoven or short Vivaldi pieces. And who knows, next time you pass by you might see somebody famous lurking in the shadows.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/sochacafe\">Visit Socha’s music schedule\u003c/a> (at myspace.com).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Being a music fan used to be much simpler when I was younger. Back then, I saw the world in delicately nuanced shades of Black or White. But with age comes a sort of wisdom, which in turn just seems to make life much more complicated. Take, for example, Cardiff-based indie kids \u003ca href=\"http://www.loscampesinos.com/\" target=\"offsite\" rel=\"noopener\">Los Campesinos!\u003c/a> who are due to land in San Francisco for the first time on November 28, 2007. Seven members strong, they burst onstage with a youthful, infectious energy that is hard not to love. But they also carry with them the unmistakeable whiff of \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:4517~T00\" target=\"offsite\" rel=\"noopener\">twee\u003c/a>, which troubles me.\u003c/p>\n\u003cp>Over the years, I have developed a strange, contradictory relationship with this fey branch of indie rock. Occasionally, it produces glorious moments of shimmering pop that cause me to fall in love with music all over again. Which is all the more surprising when I find the vast majority of the twee tribes to be an irritating, self-absorbed, weirdly conservative bunch of cardigan abusers.\u003c/p>\n\u003cp>But, instead of pretending that this side of Los Campesinos! doesn’t really exist, or that I don’t have a problem with twee after all, I have decided to face my fears like a grown-up should. Are they really twee and, if so, is this such a bad thing?\u003c/p>\n\u003cp>\u003cb>Twee sign one: Boy-girl harmonies\u003c/b>\u003cbr>Any twee band worth their salt should feature mixed-gender singing. Ideally neither voice should be particularly strong or tuneful: the boy errs towards weak and yelpy, while the girl turns up the bubblegum sweetness while simultaneously channeling the spirit of \u003ca href=\"http://www.spearedpeanut.com/tajmoehal/bio/moebio.html\" target=\"offsite\" rel=\"noopener\">Moe Tucker\u003c/a>. Los Campesinos! lead vocalist Gareth and back-up singer Aleks fit this classic template perfectly, but both also have enough moxie in their voices to avoid the limp, lisping, tuneless excesses of twee pop past. In fact, Aleks’ voice is really rather nice.\u003c/p>\n\u003cp>\u003cb>Twee sign two: Being indie\u003c/b>\u003cbr>Of course, releasing your first record on small-format vinyl via an indie label doesn’t in itself make you twee, but it definitely helps. LC have done it twice: first in the UK with their debut seven-inch single “We Throw Parties, You Throw Knives” on Wichita Recordings, then in North American by re-releasing their first two UK singles as a six-song EP called “Sticking Fingers into Sockets” on Canadian indie label Arts&Crafts, available, naturally enough, on 10-inch vinyl. But quirky releases are fun, and one thing twee bands can’t be faulted for is keeping the punk tradition of DIY mail-order-only singles with hand-printed sleeves alive and well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Twee sign three: Twee roots\u003c/b>\u003cbr>One of the surest indicators of a band being twee is if they formed out of a shared love for some other twee band. For example, perhaps the most twee moment in history occurred when the founding members of \u003ca href=\"http://utterlyutterly.co.uk/talulahgosh/\" target=\"offsite\" rel=\"noopener\">Talulah Gosh\u003c/a> met because they were both wearing \u003ca href=\"http://www.sheepish.org/pastels/\" target=\"offsite\" rel=\"noopener\">Pastels\u003c/a> badges. Ditto for Los Campesinos! Their lead guitarist Tom met the three original members of the band (Neil/guitar, Ollie/drums, and Ellen/bass) when he overheard them chatting about American indie pop act \u003ca href=\"http://www.decemberists.com/\" target=\"offsite\" rel=\"noopener\">The Decemberists\u003c/a> in a Cardiff bar. Which is the kind of cute story that is forever destined to overshadow their shared love for more credible acts, such as \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a> and \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign four: Odd instrumentation\u003c/b>\u003cbr>Los Campesinos! are loaded with musical extras, including a violin, a glockenspiel, and melodica (which looks a bit like a cross between one of those mini Casio keyboards from the eighties and a bong). But there is nothing wrong with expanding your musical horizons beyond the standard guitar/bass/drum template; it’s what you do with them that counts. For Los Campesinos!, that means creating a big sound more redolent of \u003ca href=\"http://www.arcadefire.com/flash.html\" target=\"offsite\" rel=\"noopener\">Arcade Fire\u003c/a> than the likes of \u003ca href=\"http://www.myspace.com/bmxbanditsgroup\" target=\"offsite\" rel=\"noopener\">BMX Bandits\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign five: Childishness\u003c/b>\u003cbr>Music critic and author \u003ca href=\"http://blissout.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Simon Reynolds\u003c/a> famously described the twee movement as a “revolt into childhood,” and Los Campesinos! certainly fit the bill on that front thanks to their cartoonish aesthetic and songs filled with kiddie references (most of them too peculiarly British to bother trying to explain here). However, a certain youthfulness is forgiveable in a band who are all still only 22, and thankfully they are already showing signs of maturing. Like wearing cheerleader’s outfits or hanging around school playgrounds, the childish side of twee becomes increasingly dubious with age.\u003c/p>\n\u003cp>\u003cb>Twee sign six: Self-referentialism\u003c/b>\u003cbr>Their latest single is called “The International Tweexcore Underground.” It doesn’t get much more twee than that. But dig a little deeper and you realise the song doesn’t just name-check twee icons such as \u003ca href=\"http://home2.btconnect.com/smoke/shinkansen.htm\" target=\"offsite\" rel=\"noopener\">Sarah Records\u003c/a>, \u003ca href=\"http://www.indie-mp3.co.uk/2005/04/bands-of-amelia-fletcher_25.html\" target=\"offsite\" rel=\"noopener\">Amelia Fletcher\u003c/a>, and \u003ca href=\"http://www.krecs.com/html/artists/artistbio.php?interest=62\" target=\"offsite\" rel=\"noopener\">Calvin Johnson\u003c/a>, it disses them too. And then it does the same thing to \u003ca href=\"http://21361.com/\" target=\"offsite\" rel=\"noopener\">Henry Rollins\u003c/a>, which is far too tough to be twee. So are they twee or not? Ah, screw it. I’ve no idea. But they’re dead good, so who cares?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Campesinos! play the \u003ca href=\"http://www.gamh.com/\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> on November 28, 2007. Their EP “Sticking Fingers into Sockets” (Arts&Crafts) is out now, and their most recent single “International Tweexcore Underground” (Wichita) is available via import from \u003ca href=\"http://www.recordstore.co.uk/home.jsp?CatalogNumber=WEBB155*\" target=\"offsite\" rel=\"noopener\">RecordStore\u003c/a> in the UK. Their debut album is due for release in March 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Twee sign three: Twee roots\u003c/b>\u003cbr>One of the surest indicators of a band being twee is if they formed out of a shared love for some other twee band. For example, perhaps the most twee moment in history occurred when the founding members of \u003ca href=\"http://utterlyutterly.co.uk/talulahgosh/\" target=\"offsite\" rel=\"noopener\">Talulah Gosh\u003c/a> met because they were both wearing \u003ca href=\"http://www.sheepish.org/pastels/\" target=\"offsite\" rel=\"noopener\">Pastels\u003c/a> badges. Ditto for Los Campesinos! Their lead guitarist Tom met the three original members of the band (Neil/guitar, Ollie/drums, and Ellen/bass) when he overheard them chatting about American indie pop act \u003ca href=\"http://www.decemberists.com/\" target=\"offsite\" rel=\"noopener\">The Decemberists\u003c/a> in a Cardiff bar. Which is the kind of cute story that is forever destined to overshadow their shared love for more credible acts, such as \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a> and \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign four: Odd instrumentation\u003c/b>\u003cbr>Los Campesinos! are loaded with musical extras, including a violin, a glockenspiel, and melodica (which looks a bit like a cross between one of those mini Casio keyboards from the eighties and a bong). But there is nothing wrong with expanding your musical horizons beyond the standard guitar/bass/drum template; it’s what you do with them that counts. For Los Campesinos!, that means creating a big sound more redolent of \u003ca href=\"http://www.arcadefire.com/flash.html\" target=\"offsite\" rel=\"noopener\">Arcade Fire\u003c/a> than the likes of \u003ca href=\"http://www.myspace.com/bmxbanditsgroup\" target=\"offsite\" rel=\"noopener\">BMX Bandits\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign five: Childishness\u003c/b>\u003cbr>Music critic and author \u003ca href=\"http://blissout.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Simon Reynolds\u003c/a> famously described the twee movement as a “revolt into childhood,” and Los Campesinos! certainly fit the bill on that front thanks to their cartoonish aesthetic and songs filled with kiddie references (most of them too peculiarly British to bother trying to explain here). However, a certain youthfulness is forgiveable in a band who are all still only 22, and thankfully they are already showing signs of maturing. Like wearing cheerleader’s outfits or hanging around school playgrounds, the childish side of twee becomes increasingly dubious with age.\u003c/p>\n\u003cp>\u003cb>Twee sign six: Self-referentialism\u003c/b>\u003cbr>Their latest single is called “The International Tweexcore Underground.” It doesn’t get much more twee than that. But dig a little deeper and you realise the song doesn’t just name-check twee icons such as \u003ca href=\"http://home2.btconnect.com/smoke/shinkansen.htm\" target=\"offsite\" rel=\"noopener\">Sarah Records\u003c/a>, \u003ca href=\"http://www.indie-mp3.co.uk/2005/04/bands-of-amelia-fletcher_25.html\" target=\"offsite\" rel=\"noopener\">Amelia Fletcher\u003c/a>, and \u003ca href=\"http://www.krecs.com/html/artists/artistbio.php?interest=62\" target=\"offsite\" rel=\"noopener\">Calvin Johnson\u003c/a>, it disses them too. And then it does the same thing to \u003ca href=\"http://21361.com/\" target=\"offsite\" rel=\"noopener\">Henry Rollins\u003c/a>, which is far too tough to be twee. So are they twee or not? Ah, screw it. I’ve no idea. But they’re dead good, so who cares?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Campesinos! play the \u003ca href=\"http://www.gamh.com/\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> on November 28, 2007. Their EP “Sticking Fingers into Sockets” (Arts&Crafts) is out now, and their most recent single “International Tweexcore Underground” (Wichita) is available via import from \u003ca href=\"http://www.recordstore.co.uk/home.jsp?CatalogNumber=WEBB155*\" target=\"offsite\" rel=\"noopener\">RecordStore\u003c/a> in the UK. Their debut album is due for release in March 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"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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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"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",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"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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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"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",
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