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"content": "\u003cp>When it comes to music, “authenticity” is a hugely overrated concept. Despite being widely considered an expression of praise, the idea carries with it a lot of baggage including: the notions that artists can only play types of music that match their background or upbringing; that commercial success negates artistic achievement; or that you aren’t a proper artist unless you write your own songs. \u003c/p>\n\u003cp>Which is all clearly crap. If it were true, then Elvis would have remained just another country singer, and Eminem would probably be stacking shelves in Detroit right now. \u003cb>Sgt. Pepper\u003c/b> wouldn’t have meant a thing, nor would anything Radiohead released after \u003cb>The Bends\u003c/b>. And, crucially in the context of this column, Aretha Franklin would never have recorded “Say a Little Prayer,” nor Jimi Hendrix “All Along the Watchtower,” Soft Cell “Tainted Love,” Jeff Buckley “Hallelujah,” Johnny Cash “Hurt” (along with most of the rest of his final five albums)… and so on. The list of great cover versions is as long as it is varied.\u003c/p>\n\u003cp>I’m not talking about lazy copies here, but versions of songs that bring something new to the original. This can be dramatic or subtle, but the essential fact is a good cover version can force you to reconsider the original entirely, and create something completely new and surprising in the process. Cover versions are fundamental to the fabric of modern music, helping artists to create the hybrid genres and new ideas that keep pushing things forward.\u003c/p>\n\u003cp>Not convinced? Then here are some songs to persuade you that first isn’t always best:\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=dYngU49mBQ8\" target=\"offsite\" rel=\"noopener\">“Just”\u003c/a> by Mark Ronson featuring Alex Greenwald (originally by Radiohead)\u003cbr>\u003ca href=\"http://www.markronson.net/\" target=\"offsite\" rel=\"noopener\">Mark Ronson\u003c/a>‘s recent album of covers, \u003cb>Version\u003c/b>, produced two standout tracks: a stomping, Amy Winehouse-fueled Motown take on \u003ca href=\"http://www.thezutons.com/\" target=\"offsite\" rel=\"noopener\">The Zutons’\u003c/a> “Valerie,” and “Just,” which proves that jewels of pure pop can be found in the most unexpected places. Phantom Planet vocalist Greenwald may sound like he’s competing in a Thom Yorke karaoke contest, but Radiohead’s anguished \u003ca href=\"http://www.youtube.com/watch?v=R5X7HKxpiQA\" target=\"offsite\" rel=\"noopener\">original\u003c/a> is nevertheless transformed by its new horn-drenched backing into something not just upbeat but also downright funky. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"http://www.nouvellesvagues.com/english/music.html\" target=\"offsite\" rel=\"noopener\">Guns of Brixton\u003c/a>” by Nouvelle Vague (The Clash)\u003cbr>French covers-only act \u003ca href=\"http://www.nouvellesvagues.com/\" target=\"offsite\" rel=\"noopener\">Nouvelle Vague\u003c/a> takes a different tack from the dancefloor-friendly Ronson by creating mellowed-out, bossa nova versions of punk and new wave classics. Their smoky, sultry sashay through The Clash’s “Guns of Brixton” (from their self-titled debut), for example, ignores any punk beligerence in the \u003ca href=\"http://www.youtube.com/watch?v=hiQoq-wqZxg\" target=\"offsite\" rel=\"noopener\">original\u003c/a> and instead highlights the song’s underlying sense of creeping menace.\u003c/p>\n\u003cp>“\u003ca href=\"http://download.wbr.com/mirror/ninagordon.com/media/sounds/covers-straightouttacompton.mp3\" target=\"offsite\" rel=\"noopener\">Straight Outta Compton\u003c/a>” by Nina Gordon (NWA)\u003cbr>While your first reaction to hearing this might be to laugh in disbelief, ex-Veruca Salt member Gordon’s delicate, acoustic, folk-core cover of the \u003ca href=\"http://www.youtube.com/watch?v=nkPb4s0-QcI\" target=\"offsite\" rel=\"noopener\">original\u003c/a> NWA classic is also strangely beguiling. We have become so inured to all sorts of violent and profane words coming out of the mouths of rappers. But, by singing “My AK-47 is a tool / So don’t make me act the motherf–king fool” with a sweet, melodic voice, Gordon makes the words sound both more innocent and more shocking at the same time. My only gripe is why she didn’t record “Folk the Police” instead.\u003c/p>\n\u003cp>“\u003ca href=\"http://odeo.com/audio/5463143/view\" target=\"offsite\" rel=\"noopener\">Break My Body\u003c/a>” by Hanne Hukkelberg (Pixies)\u003cbr>This is an object lesson in how to change the style of a song so much it’s almost unrecognizable, but also stay true to the spirit of the original. Despite being a huge Pixies fan, the first time I heard Norwegian singer \u003ca href=\"http://hanne.hukkelberg.net/\" target=\"offsite\" rel=\"noopener\">Hanne Hukkelberg\u003c/a>‘s version of this \u003cb>Surfer Rosa\u003c/b> track, I couldn’t work out where on earth I knew it from until the chorus arrived one-and-a-half minutes in. (What’s even more surprising is that I did exactly the same thing the second time I heard it, but perhaps that says more about my memory than anything else.) It may not howl as loudly as the \u003ca href=\"http://www.youtube.com/watch?v=E18beaR-odI\" target=\"offsite\" rel=\"noopener\">original\u003c/a>, but this whisper-quiet rendering somehow packs the same emotional punch.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ilike.com/artist/Candi+Staton/album/Candi+Staton\" target=\"offsite\" rel=\"noopener\">“In the Ghetto”\u003c/a> by Candi Staton (Elvis Presley)\u003cbr>Despite the fact that for years this was my favorite Elvis track, \u003ca href=\"http://www.myspace.com/candistaton\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a>‘s version has a power that makes you forget all about that whatshisname from Memphis. Unfortunately, the link above only gives you a sample of the song, but I cannot recommend the album it comes from, \u003ca href=\"http://www.amazon.com/Candi-Staton/dp/samples/B0000DG5N0/ref=dp_tracks_all_1/104-7903565-1014365#disc_1\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a> (a collection of her pre-disco, southern soul recordings released in 2004), highly enough. It also features a great version of “Stand by Your Man.” (Of course, the \u003ca href=\"http://www.youtube.com/watch?v=zmVFnhO3A98\" target=\"offsite\" rel=\"noopener\">original “In the Ghetto”\u003c/a> was actually written by Mac Davis, but first recorded by Presley).\u003c/p>\n\u003cp>\u003ca href=\"http://www.oompahbrass.com/sounds/Living_on_a_Prayer.mp3\" target=\"offsite\" rel=\"noopener\">“Living on a Prayer”\u003c/a> by Octoberfest Oompah Band (Bon Jovi)\u003cbr>This tongue-in-cheek instrumental track by London’s self-described \u003ca href=\"http://www.oompahbrass.com/index.html\" target=\"offsite\" rel=\"noopener\">“newest, freshest, most temulent Oompah ensemble”\u003c/a> somehow transforms the overblown hair-rock \u003ca href=\"http://www.youtube.com/watch?v=nE11Zrrp24I\" target=\"offsite\" rel=\"noopener\">original\u003c/a> into something much more poignant. The new version ends up sounding more like the gypsy stylings of Eastern Europhiles \u003ca href=\"http://www.beirutband.com/\" target=\"offsite\" rel=\"noopener\">Beirut\u003c/a> than a song written by New Jersey’s most famous poodle-perms.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dancetracksdigital.com/clipplayer/playlist.php?TRACK_ID=4550\" target=\"offsite\" rel=\"noopener\">“Song 2wo”\u003c/a> by Earl Zinger (Blur)\u003cbr>When this dub-heavy, reggae transformation of the “woo-hoo” song was first released, it sounded so old school that some people began wondering if Blur’s \u003ca href=\"http://www.youtube.com/watch?v=C0Xl0ZEKJzo\" target=\"offsite\" rel=\"noopener\">original\u003c/a> was really the cover version. But, despite many \u003ca href=\"http://www.k7-de.com/db_robotssubpage.php?id=Put%20Your%20Phasers%20on%20....I.PRO436\" target=\"offsite\" rel=\"noopener\">self-propogated rumors\u003c/a> to the contrary, it turned out that Earl Zinger was a modern-day alias of ex-Galliano mainman Rob Gallagher. Which is a shame, as the whole thing would have been much more entertaining the other way round.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Next week, Dan Brown will re-write this article to highlight how a shady cabal of Catholics are to blame for Willie Nelson’s 2005 reggae album.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to music, “authenticity” is a hugely overrated concept. Despite being widely considered an expression of praise, the idea carries with it a lot of baggage including: the notions that artists can only play types of music that match their background or upbringing; that commercial success negates artistic achievement; or that you aren’t a proper artist unless you write your own songs. \u003c/p>\n\u003cp>Which is all clearly crap. If it were true, then Elvis would have remained just another country singer, and Eminem would probably be stacking shelves in Detroit right now. \u003cb>Sgt. Pepper\u003c/b> wouldn’t have meant a thing, nor would anything Radiohead released after \u003cb>The Bends\u003c/b>. And, crucially in the context of this column, Aretha Franklin would never have recorded “Say a Little Prayer,” nor Jimi Hendrix “All Along the Watchtower,” Soft Cell “Tainted Love,” Jeff Buckley “Hallelujah,” Johnny Cash “Hurt” (along with most of the rest of his final five albums)… and so on. The list of great cover versions is as long as it is varied.\u003c/p>\n\u003cp>I’m not talking about lazy copies here, but versions of songs that bring something new to the original. This can be dramatic or subtle, but the essential fact is a good cover version can force you to reconsider the original entirely, and create something completely new and surprising in the process. Cover versions are fundamental to the fabric of modern music, helping artists to create the hybrid genres and new ideas that keep pushing things forward.\u003c/p>\n\u003cp>Not convinced? Then here are some songs to persuade you that first isn’t always best:\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=dYngU49mBQ8\" target=\"offsite\" rel=\"noopener\">“Just”\u003c/a> by Mark Ronson featuring Alex Greenwald (originally by Radiohead)\u003cbr>\u003ca href=\"http://www.markronson.net/\" target=\"offsite\" rel=\"noopener\">Mark Ronson\u003c/a>‘s recent album of covers, \u003cb>Version\u003c/b>, produced two standout tracks: a stomping, Amy Winehouse-fueled Motown take on \u003ca href=\"http://www.thezutons.com/\" target=\"offsite\" rel=\"noopener\">The Zutons’\u003c/a> “Valerie,” and “Just,” which proves that jewels of pure pop can be found in the most unexpected places. Phantom Planet vocalist Greenwald may sound like he’s competing in a Thom Yorke karaoke contest, but Radiohead’s anguished \u003ca href=\"http://www.youtube.com/watch?v=R5X7HKxpiQA\" target=\"offsite\" rel=\"noopener\">original\u003c/a> is nevertheless transformed by its new horn-drenched backing into something not just upbeat but also downright funky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"http://www.nouvellesvagues.com/english/music.html\" target=\"offsite\" rel=\"noopener\">Guns of Brixton\u003c/a>” by Nouvelle Vague (The Clash)\u003cbr>French covers-only act \u003ca href=\"http://www.nouvellesvagues.com/\" target=\"offsite\" rel=\"noopener\">Nouvelle Vague\u003c/a> takes a different tack from the dancefloor-friendly Ronson by creating mellowed-out, bossa nova versions of punk and new wave classics. Their smoky, sultry sashay through The Clash’s “Guns of Brixton” (from their self-titled debut), for example, ignores any punk beligerence in the \u003ca href=\"http://www.youtube.com/watch?v=hiQoq-wqZxg\" target=\"offsite\" rel=\"noopener\">original\u003c/a> and instead highlights the song’s underlying sense of creeping menace.\u003c/p>\n\u003cp>“\u003ca href=\"http://download.wbr.com/mirror/ninagordon.com/media/sounds/covers-straightouttacompton.mp3\" target=\"offsite\" rel=\"noopener\">Straight Outta Compton\u003c/a>” by Nina Gordon (NWA)\u003cbr>While your first reaction to hearing this might be to laugh in disbelief, ex-Veruca Salt member Gordon’s delicate, acoustic, folk-core cover of the \u003ca href=\"http://www.youtube.com/watch?v=nkPb4s0-QcI\" target=\"offsite\" rel=\"noopener\">original\u003c/a> NWA classic is also strangely beguiling. We have become so inured to all sorts of violent and profane words coming out of the mouths of rappers. But, by singing “My AK-47 is a tool / So don’t make me act the motherf–king fool” with a sweet, melodic voice, Gordon makes the words sound both more innocent and more shocking at the same time. My only gripe is why she didn’t record “Folk the Police” instead.\u003c/p>\n\u003cp>“\u003ca href=\"http://odeo.com/audio/5463143/view\" target=\"offsite\" rel=\"noopener\">Break My Body\u003c/a>” by Hanne Hukkelberg (Pixies)\u003cbr>This is an object lesson in how to change the style of a song so much it’s almost unrecognizable, but also stay true to the spirit of the original. Despite being a huge Pixies fan, the first time I heard Norwegian singer \u003ca href=\"http://hanne.hukkelberg.net/\" target=\"offsite\" rel=\"noopener\">Hanne Hukkelberg\u003c/a>‘s version of this \u003cb>Surfer Rosa\u003c/b> track, I couldn’t work out where on earth I knew it from until the chorus arrived one-and-a-half minutes in. (What’s even more surprising is that I did exactly the same thing the second time I heard it, but perhaps that says more about my memory than anything else.) It may not howl as loudly as the \u003ca href=\"http://www.youtube.com/watch?v=E18beaR-odI\" target=\"offsite\" rel=\"noopener\">original\u003c/a>, but this whisper-quiet rendering somehow packs the same emotional punch.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ilike.com/artist/Candi+Staton/album/Candi+Staton\" target=\"offsite\" rel=\"noopener\">“In the Ghetto”\u003c/a> by Candi Staton (Elvis Presley)\u003cbr>Despite the fact that for years this was my favorite Elvis track, \u003ca href=\"http://www.myspace.com/candistaton\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a>‘s version has a power that makes you forget all about that whatshisname from Memphis. Unfortunately, the link above only gives you a sample of the song, but I cannot recommend the album it comes from, \u003ca href=\"http://www.amazon.com/Candi-Staton/dp/samples/B0000DG5N0/ref=dp_tracks_all_1/104-7903565-1014365#disc_1\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a> (a collection of her pre-disco, southern soul recordings released in 2004), highly enough. It also features a great version of “Stand by Your Man.” (Of course, the \u003ca href=\"http://www.youtube.com/watch?v=zmVFnhO3A98\" target=\"offsite\" rel=\"noopener\">original “In the Ghetto”\u003c/a> was actually written by Mac Davis, but first recorded by Presley).\u003c/p>\n\u003cp>\u003ca href=\"http://www.oompahbrass.com/sounds/Living_on_a_Prayer.mp3\" target=\"offsite\" rel=\"noopener\">“Living on a Prayer”\u003c/a> by Octoberfest Oompah Band (Bon Jovi)\u003cbr>This tongue-in-cheek instrumental track by London’s self-described \u003ca href=\"http://www.oompahbrass.com/index.html\" target=\"offsite\" rel=\"noopener\">“newest, freshest, most temulent Oompah ensemble”\u003c/a> somehow transforms the overblown hair-rock \u003ca href=\"http://www.youtube.com/watch?v=nE11Zrrp24I\" target=\"offsite\" rel=\"noopener\">original\u003c/a> into something much more poignant. The new version ends up sounding more like the gypsy stylings of Eastern Europhiles \u003ca href=\"http://www.beirutband.com/\" target=\"offsite\" rel=\"noopener\">Beirut\u003c/a> than a song written by New Jersey’s most famous poodle-perms.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dancetracksdigital.com/clipplayer/playlist.php?TRACK_ID=4550\" target=\"offsite\" rel=\"noopener\">“Song 2wo”\u003c/a> by Earl Zinger (Blur)\u003cbr>When this dub-heavy, reggae transformation of the “woo-hoo” song was first released, it sounded so old school that some people began wondering if Blur’s \u003ca href=\"http://www.youtube.com/watch?v=C0Xl0ZEKJzo\" target=\"offsite\" rel=\"noopener\">original\u003c/a> was really the cover version. But, despite many \u003ca href=\"http://www.k7-de.com/db_robotssubpage.php?id=Put%20Your%20Phasers%20on%20....I.PRO436\" target=\"offsite\" rel=\"noopener\">self-propogated rumors\u003c/a> to the contrary, it turned out that Earl Zinger was a modern-day alias of ex-Galliano mainman Rob Gallagher. Which is a shame, as the whole thing would have been much more entertaining the other way round.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Next week, Dan Brown will re-write this article to highlight how a shady cabal of Catholics are to blame for Willie Nelson’s 2005 reggae album.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Siouxsie: Mantaray",
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"content": "\u003cp>I have been listening to the voice of Siouxsie Sioux since the 1981 release of “Spellbound,” the first single off of Siouxsie and the Banshee’s classic \u003cb>Juju\u003c/b> album, a record often cited as the progenitor of all things goth. Siouxsie has evolved from post-punk to goth to alterna-pop as the ferocious front-woman of the Banshees, and explored various world musics with Budgie, her drummer husband and Creatures collaborator.\u003c/p>\n\u003cp>Siouxsie is now 50, divorced from said husband and, after 30 years in the music business, has released her first solo album, \u003cb>Mantaray\u003c/b>. She has always been a bit of a chameleon; anyone following her career won’t be a bit surprised with her updated sound and the exploration of yet another sonic space. No longer Siouxsie Sioux, \u003cb>Mantaray\u003c/b> marks the dark diva’s arrival as another of those one-named artists, just Siouxsie — though I suppose she’s been that all along.\u003c/p>\n\u003cp>The album opener, “Into a Swan” announces Siouxsie’s return with a grinding, propulsive beat and the mantra, “I feel a force I’ve never felt before.” Indeed, it bursts onto the airwaves, with a fierce statement of intent, twisting a new-found sense of purpose into a threat. The song is irresistible. No matter the quality of any Siouxsie album, she has always known how to make a proper single. Even the low-point of the Banshees’ career, 1991’s \u003cb>Superstition\u003c/b> lead off with “Kiss Them for Me,” an instant classic. At their best, Siouxsie, the Banshees and The Creatures create music that coils itself around the ears and burrows deep into the brain.\u003c/p>\n\u003cp>The second track, “About to Happen,” with its cheesy synth line and simplistic dance beat, is a throw away. Press the skip button and move on to “Here Comes That Day,” a slinky ode to comeuppance. The song is full of humor, drama and swing, with dazzling big band horns and an (oft mentioned) Shirley Bassey flavor. This is a direction Siouxsie has mined before with The Creatures’ 1984 cover of “Right Now,” but “Here Comes That Day” sounds urgent and modern.\u003c/p>\n\u003cp>All in all, there are three songs on the album that I can take or leave. “One Mile Below” sounds like a mediocre Banshees B-side and the album closer “Heaven and Alchemy,” which would fit perfectly on a Tina Turner record, is just too mainstream a sound for Siouxsie. Perhaps it’s unfair to ask her to push harder. How many pop masterpieces should we expect from one artist? Unfortunately for Siouxsie, each album whets the appetite for more — more experimentation, more growth and more drama. And the drum track on “Loveless” just makes me miss Budgie, one of the most innovative drummers ever to anchor a pop band. Too bad their divorce settlement didn’t include a clause forcing him to drum for his ex-frontwoman forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, \u003cb>Mantaray\u003c/b> is an album about the divorce. On it, we find a more exposed Siouxsie, battered and bruised, picking up the pieces from a life-changing event and persevering, if not ready yet to move on completely. “If It Doesn’t Kill You” communicates this point perfectly, in high, James Bond-theme style. (Again this phrase pops up a lot, but it’s just too apt.) “If It Doesn’t Kill You” harkens back to classic 007 themes of the sixties and reminds us of Siouxsie’s place at the center of pop, not on the “alternative,” “punk” or “goth” sidelines.\u003c/p>\n\u003cp>My journey through the album proceeds from “If It Doesn’t Kill You” to “Drone Zone,” which sounds like a collaboration with The Real Tuesday Weld, a combination of sampling, horns and vocals reminiscent of Depression era music, oddly appropriate for Siouxsie’s muscular voice. I move through the “Sea of Tranquility,” a gorgeous mambo that reaches poetically for the stars. It’s the one song on \u003cb>Mantaray\u003c/b> that sounds truly hopeful, with Siouxsie pondering infinity — “there are more stars in the sky than grains of sand” — and finding a state of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They Follow You” is, for me, a perfect coda, the music soars to the pop heavens. Vaguely retro ’80s and oddly European, it could be a song from anywhere and just about anytime. “They Follow You” also contains my favorite lines on the record, “Sew up these tears. Stitch up this smile. Embroidered tears drown the wishing well.” It’s touching to see the woman known round the world as the “Ice Queen” make herself so vulnerable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have been listening to the voice of Siouxsie Sioux since the 1981 release of “Spellbound,” the first single off of Siouxsie and the Banshee’s classic \u003cb>Juju\u003c/b> album, a record often cited as the progenitor of all things goth. Siouxsie has evolved from post-punk to goth to alterna-pop as the ferocious front-woman of the Banshees, and explored various world musics with Budgie, her drummer husband and Creatures collaborator.\u003c/p>\n\u003cp>Siouxsie is now 50, divorced from said husband and, after 30 years in the music business, has released her first solo album, \u003cb>Mantaray\u003c/b>. She has always been a bit of a chameleon; anyone following her career won’t be a bit surprised with her updated sound and the exploration of yet another sonic space. No longer Siouxsie Sioux, \u003cb>Mantaray\u003c/b> marks the dark diva’s arrival as another of those one-named artists, just Siouxsie — though I suppose she’s been that all along.\u003c/p>\n\u003cp>The album opener, “Into a Swan” announces Siouxsie’s return with a grinding, propulsive beat and the mantra, “I feel a force I’ve never felt before.” Indeed, it bursts onto the airwaves, with a fierce statement of intent, twisting a new-found sense of purpose into a threat. The song is irresistible. No matter the quality of any Siouxsie album, she has always known how to make a proper single. Even the low-point of the Banshees’ career, 1991’s \u003cb>Superstition\u003c/b> lead off with “Kiss Them for Me,” an instant classic. At their best, Siouxsie, the Banshees and The Creatures create music that coils itself around the ears and burrows deep into the brain.\u003c/p>\n\u003cp>The second track, “About to Happen,” with its cheesy synth line and simplistic dance beat, is a throw away. Press the skip button and move on to “Here Comes That Day,” a slinky ode to comeuppance. The song is full of humor, drama and swing, with dazzling big band horns and an (oft mentioned) Shirley Bassey flavor. This is a direction Siouxsie has mined before with The Creatures’ 1984 cover of “Right Now,” but “Here Comes That Day” sounds urgent and modern.\u003c/p>\n\u003cp>All in all, there are three songs on the album that I can take or leave. “One Mile Below” sounds like a mediocre Banshees B-side and the album closer “Heaven and Alchemy,” which would fit perfectly on a Tina Turner record, is just too mainstream a sound for Siouxsie. Perhaps it’s unfair to ask her to push harder. How many pop masterpieces should we expect from one artist? Unfortunately for Siouxsie, each album whets the appetite for more — more experimentation, more growth and more drama. And the drum track on “Loveless” just makes me miss Budgie, one of the most innovative drummers ever to anchor a pop band. Too bad their divorce settlement didn’t include a clause forcing him to drum for his ex-frontwoman forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cb>Mantaray\u003c/b> is an album about the divorce. On it, we find a more exposed Siouxsie, battered and bruised, picking up the pieces from a life-changing event and persevering, if not ready yet to move on completely. “If It Doesn’t Kill You” communicates this point perfectly, in high, James Bond-theme style. (Again this phrase pops up a lot, but it’s just too apt.) “If It Doesn’t Kill You” harkens back to classic 007 themes of the sixties and reminds us of Siouxsie’s place at the center of pop, not on the “alternative,” “punk” or “goth” sidelines.\u003c/p>\n\u003cp>My journey through the album proceeds from “If It Doesn’t Kill You” to “Drone Zone,” which sounds like a collaboration with The Real Tuesday Weld, a combination of sampling, horns and vocals reminiscent of Depression era music, oddly appropriate for Siouxsie’s muscular voice. I move through the “Sea of Tranquility,” a gorgeous mambo that reaches poetically for the stars. It’s the one song on \u003cb>Mantaray\u003c/b> that sounds truly hopeful, with Siouxsie pondering infinity — “there are more stars in the sky than grains of sand” — and finding a state of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They Follow You” is, for me, a perfect coda, the music soars to the pop heavens. Vaguely retro ’80s and oddly European, it could be a song from anywhere and just about anytime. “They Follow You” also contains my favorite lines on the record, “Sew up these tears. Stitch up this smile. Embroidered tears drown the wishing well.” It’s touching to see the woman known round the world as the “Ice Queen” make herself so vulnerable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Magic Flute",
"headTitle": "The Magic Flute | KQED",
"content": "\u003cp>The contrasts between “high” and “low” art, the sublime and the ridiculous, the earthy and the divine in Mozart’s final opera \u003cb>The Magic Flute\u003c/b> are all on display in the San Francisco Opera’s current production. \u003cb>The Magic Flute\u003c/b> can be considered a bipolar composition, beginning as a humorous and lively fairy tale and ending as a moral and spiritual lesson. This production, designed by Gerald Scarfe for the Los Angeles Opera in 1992 and fully refurbished for this run, conveys both aspects of the opera with moments of sublime transcendence and delightful comedy.\u003c/p>\n\u003cp>The opera moves rapidly through a variety of characters, scenes, and musical styles, sometimes seeming to contradict itself and leaving the audience unsure of its villains and heroes. In Act I, prince Tamino is convinced by the Queen of the Night to rescue her daughter Pamina, who has been kidnapped by the evil sorcerer Sarastro. By the end of Act I, Tamino has recognized Sarastro as a wise priest and leader of a spiritual community. Tamino renounces the Queen, and in Act II he and Pamina commit to Sarastro’s trials to achieve enlightenment together. They are accompanied reluctantly by the simple birdcatcher Papageno. More interested in food and wine than in spiritual purity, Papageno fails Sarastro’s tests but finds love with Papagena. Along the way there is enchantment, deception, love at first sight, attempted suicide, and giant snake attacks — just another night at the opera!\u003c/p>\n\u003cp>The first act abounds with whimsical details that serve the plot and characters, such as the scene in which Tamino, trying out his magic flute for the first time, calls forth “animals” from the forest. But these are unlike animals ever seen before: a giraffstrich, combination giraffe and ostrich, who enters on stilts; a strangely beautiful pink striped tigicorn (tiger and unicorn); and a short, hilarious crocoguin (crocodile and penguin) no more than three feet tall, who nudges Tamino’s flute, encouraging him to play more. The creatures give the scene a dreamy, otherworldly atmosphere that’s perfectly suited to the music of Tamino’s magic flute and \u003cb>The Magic Flute\u003c/b> as a whole.\u003c/p>\n\u003cp>A highlight of the production is the second aria sung by Erika Miklósa as the Queen of the Night, which provides a needed spark during Act II. The coloratura (very high, rapid vocal passages) is electric and the scene is further animated by the believable interaction between the Queen and Pamina, who tries and fails to stand up to her mother. Anyone who watches this scene should be glad that their mother can’t trill out high notes to win an argument!\u003c/p>\n\u003cp>The simplicity of the costumes and staging for the “heroic” characters of Tamino and Pamina creates an appropriate contrast with the colorful, manic theatrics of the comedic Papageno and the Three Ladies, aids to the Queen of the Night. While in some productions this contrast leaves the heroic roles seeming dull, they are saved here by the smooth, expressive singing of Piotr Beczala (Tamino) and Dina Kuznetsova (Pamina). As Sarastro, Georg Zeppenfeld combines a powerful, warm tone with a commanding and benevolent stage presence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This production begins with great energy but slows down significantly during Act II. This may be partly due to the structure of the opera itself. Characters introduced in Act I, including the vibrant and entertaining Three Ladies, are nearly forgotten in Act II as the chorus takes on a more prominent, but also more static role. There are plot inconsistencies between the two acts as well, such why the Queen’s gifts to Tamino (including the magic flute) continue to aid him even after he has turned against her.\u003c/p>\n\u003cp>Theories abound to explain these inconsistencies in plot and tone. Were Mozart and his librettist Emanual Schickaneder unable to reconcile their different artistic visions, with Schickaneder advocating for broader humor and Mozart focusing on the sublime spiritual elements? Did they make last-minute changes to differentiate the opera from a contemporary opera (called \u003cb>The Magic Zither\u003c/b>) that dealt with similar themes? Were Mozart’s dramatic instincts at odds with his attempts to express Enlightenment and Masonic ideals? Was there a rush to finish the work against a difficult deadline?\u003c/p>\n\u003cp>There may be no one explanation for the inconsistencies and seeming contradictions of this opera, and in fact these elements are part of what make the work so fascinating. \u003cb>The Magic Flute\u003c/b>, undeniably one of Mozart’s great masterpieces, is not easy to categorize or define. The opera encompasses many different aspects of human experience: bawdy jokes and ethereal visions, sensual enjoyment and the search for wisdom, sexual aggression and selfless love, revenge and empathy, hatred and forgiveness.\u003c/p>\n\u003cp>Each time you watch or listen to the opera, you may decide that the favor lies with a different side. Are you moved by Sarastro’s calm mercy, or do you thrill to the seductive virtuosity of the Queen of the Night? Do you envy Papageno and Papagena’s simple earthy love, or Tamino and Pamina’s enlightened selflessness? Would you rather live in the unpredictable forest of Act I, or in the peaceful temple of Act II?\u003c/p>\n\u003cp>In this production, the energy and interest is more sustained in the fairy tale of Act I. But perhaps the real truth of \u003cb>The Magic Flute\u003c/b> is that these tensions and contradictions are all aspects of the same experience. Maybe the fun is in not having to choose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Magic Flute\u003c/b> is at the San Francisco Opera through November 3, 2007. For \u003ca href=\"http://sfopera.com/opera.asp?o=254\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n",
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"excerpt": "The contrasts between \"high\" and \"low\" art, the sublime and the ridiculous, the earthy and the divine in Mozart's final opera \u003cb>The Magic Flute\u003c/b> are all on display in the San Francisco Opera's current production. \u003cb>The Magic Flute\u003c/b> can be considered a bipolar composition, beginning as a humorous and lively fairy tale and ending as a moral and spiritual lesson. This production, designed by Gerald Scarfe for the Los Angeles Opera in 1992 and fully refurbished for this run, conveys both aspects of the opera with moments of sublime transcendence and delightful comedy. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The contrasts between “high” and “low” art, the sublime and the ridiculous, the earthy and the divine in Mozart’s final opera \u003cb>The Magic Flute\u003c/b> are all on display in the San Francisco Opera’s current production. \u003cb>The Magic Flute\u003c/b> can be considered a bipolar composition, beginning as a humorous and lively fairy tale and ending as a moral and spiritual lesson. This production, designed by Gerald Scarfe for the Los Angeles Opera in 1992 and fully refurbished for this run, conveys both aspects of the opera with moments of sublime transcendence and delightful comedy.\u003c/p>\n\u003cp>The opera moves rapidly through a variety of characters, scenes, and musical styles, sometimes seeming to contradict itself and leaving the audience unsure of its villains and heroes. In Act I, prince Tamino is convinced by the Queen of the Night to rescue her daughter Pamina, who has been kidnapped by the evil sorcerer Sarastro. By the end of Act I, Tamino has recognized Sarastro as a wise priest and leader of a spiritual community. Tamino renounces the Queen, and in Act II he and Pamina commit to Sarastro’s trials to achieve enlightenment together. They are accompanied reluctantly by the simple birdcatcher Papageno. More interested in food and wine than in spiritual purity, Papageno fails Sarastro’s tests but finds love with Papagena. Along the way there is enchantment, deception, love at first sight, attempted suicide, and giant snake attacks — just another night at the opera!\u003c/p>\n\u003cp>The first act abounds with whimsical details that serve the plot and characters, such as the scene in which Tamino, trying out his magic flute for the first time, calls forth “animals” from the forest. But these are unlike animals ever seen before: a giraffstrich, combination giraffe and ostrich, who enters on stilts; a strangely beautiful pink striped tigicorn (tiger and unicorn); and a short, hilarious crocoguin (crocodile and penguin) no more than three feet tall, who nudges Tamino’s flute, encouraging him to play more. The creatures give the scene a dreamy, otherworldly atmosphere that’s perfectly suited to the music of Tamino’s magic flute and \u003cb>The Magic Flute\u003c/b> as a whole.\u003c/p>\n\u003cp>A highlight of the production is the second aria sung by Erika Miklósa as the Queen of the Night, which provides a needed spark during Act II. The coloratura (very high, rapid vocal passages) is electric and the scene is further animated by the believable interaction between the Queen and Pamina, who tries and fails to stand up to her mother. Anyone who watches this scene should be glad that their mother can’t trill out high notes to win an argument!\u003c/p>\n\u003cp>The simplicity of the costumes and staging for the “heroic” characters of Tamino and Pamina creates an appropriate contrast with the colorful, manic theatrics of the comedic Papageno and the Three Ladies, aids to the Queen of the Night. While in some productions this contrast leaves the heroic roles seeming dull, they are saved here by the smooth, expressive singing of Piotr Beczala (Tamino) and Dina Kuznetsova (Pamina). As Sarastro, Georg Zeppenfeld combines a powerful, warm tone with a commanding and benevolent stage presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This production begins with great energy but slows down significantly during Act II. This may be partly due to the structure of the opera itself. Characters introduced in Act I, including the vibrant and entertaining Three Ladies, are nearly forgotten in Act II as the chorus takes on a more prominent, but also more static role. There are plot inconsistencies between the two acts as well, such why the Queen’s gifts to Tamino (including the magic flute) continue to aid him even after he has turned against her.\u003c/p>\n\u003cp>Theories abound to explain these inconsistencies in plot and tone. Were Mozart and his librettist Emanual Schickaneder unable to reconcile their different artistic visions, with Schickaneder advocating for broader humor and Mozart focusing on the sublime spiritual elements? Did they make last-minute changes to differentiate the opera from a contemporary opera (called \u003cb>The Magic Zither\u003c/b>) that dealt with similar themes? Were Mozart’s dramatic instincts at odds with his attempts to express Enlightenment and Masonic ideals? Was there a rush to finish the work against a difficult deadline?\u003c/p>\n\u003cp>There may be no one explanation for the inconsistencies and seeming contradictions of this opera, and in fact these elements are part of what make the work so fascinating. \u003cb>The Magic Flute\u003c/b>, undeniably one of Mozart’s great masterpieces, is not easy to categorize or define. The opera encompasses many different aspects of human experience: bawdy jokes and ethereal visions, sensual enjoyment and the search for wisdom, sexual aggression and selfless love, revenge and empathy, hatred and forgiveness.\u003c/p>\n\u003cp>Each time you watch or listen to the opera, you may decide that the favor lies with a different side. Are you moved by Sarastro’s calm mercy, or do you thrill to the seductive virtuosity of the Queen of the Night? Do you envy Papageno and Papagena’s simple earthy love, or Tamino and Pamina’s enlightened selflessness? Would you rather live in the unpredictable forest of Act I, or in the peaceful temple of Act II?\u003c/p>\n\u003cp>In this production, the energy and interest is more sustained in the fairy tale of Act I. But perhaps the real truth of \u003cb>The Magic Flute\u003c/b> is that these tensions and contradictions are all aspects of the same experience. Maybe the fun is in not having to choose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Magic Flute\u003c/b> is at the San Francisco Opera through November 3, 2007. For \u003ca href=\"http://sfopera.com/opera.asp?o=254\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disco is not dead. On the contrary, it is alive and well all over \u003cb>Night Drive\u003c/b>, the newly released and hotly anticipated album from Portland’s Chromatics (you might know them from their contributions to the \u003cb>After Dark\u003c/b> compilation earlier this year or through their overlap with another great band, Glass Candy). This batch of songs is a departure from the band’s prior noisy punk efforts. Usually, a band or artist changing his stripes and musical direction amounts to lackluster results (think Gwen Stefani, who gave up her reign as ska prom queen for a harem of mute Japanese girls), but that couldn’t be farther from the truth here. The refocus from punk to a sleek Italo-disco aesthetic has revitalized the band.\u003c/p>\n\u003cp>The album consists of moody melodies with a certain dark sentimentality attached. Certainly not the disco of yore, but an innovative redefinition of what once was. The psychedelic, languorous songs are supported by the voice of Ruth Radalet, who often sounds like a drugged intergalactic goddess in love, the production talents of Johnny Jewel, and the guitar tricks of Adam Miller. All of which makes for a groovy foray into infectious hypnosis.\u003c/p>\n\u003cp>The album begins with Radalet calling her boy after leaving a club. The conversation endears us to the vocalist, especially when she promises to bring home some wine, and prepares us for our journey with her kittenish coo. Next comes one of the standout tracks and the album’s title song. “Night Drive” really sells the idea behind the album, a musical representation of nocturnal patterns mostly noticed from the seat of a moving vehicle. Radalet’s vocals call to mind a groggy drug-addled dream from which one wishes never to wake. The same goes for the next track, “I Want Your Love,” a neatly packed craving for affection buoyed by stimulating guitar sequences.\u003c/p>\n\u003cp>The album’s major moment comes with “Running Up That Hill,” a momentous cover of Kate Bush’s classic. This version is more restrained than its inspiration and sounds sexier and more elegant. Radelet turns the simple line “It’s you and me” into a persuasive mantra, slowly convincing the listener that her words are meant for him. Alas, it’s not reality, just a side effect of her ethereal pipes, which coalesce perfectly with the distorted harmonicas. The song’s haunting guitar arpeggios and Radelet’s passionate delivery will place this spectacular redo into heavy rotation.\u003c/p>\n\u003cp>“The Killing Spree” takes a turn away from love “hill” down a dark, narrow road that shouldn’t be driven this late at night. Thoughts of cold murder and bogeymen arise sounding much like the score of a Dario Argento flick (\u003cb>Suspiria\u003c/b> is a must-see). If you’ve escaped with your life, “Healer,” a standout Joy Division-influenced number, and “Mask,” a groove-worthy experience of bouncing moog synth, follow to rid any residual hesitation or doubt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As on most long night drives, an are-we-there-yet? moment arrives during the last two or three songs of the album. Absent Radalet’s voice, which grounds the preceding tracks, the beats sound repetitive and unconvincing. Nonetheless, the album’s previous gems greatly eclipse the spiritless end notes and convey that disco is still alive and these are its heartbeats.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disco is not dead. On the contrary, it is alive and well all over \u003cb>Night Drive\u003c/b>, the newly released and hotly anticipated album from Portland’s Chromatics (you might know them from their contributions to the \u003cb>After Dark\u003c/b> compilation earlier this year or through their overlap with another great band, Glass Candy). This batch of songs is a departure from the band’s prior noisy punk efforts. Usually, a band or artist changing his stripes and musical direction amounts to lackluster results (think Gwen Stefani, who gave up her reign as ska prom queen for a harem of mute Japanese girls), but that couldn’t be farther from the truth here. The refocus from punk to a sleek Italo-disco aesthetic has revitalized the band.\u003c/p>\n\u003cp>The album consists of moody melodies with a certain dark sentimentality attached. Certainly not the disco of yore, but an innovative redefinition of what once was. The psychedelic, languorous songs are supported by the voice of Ruth Radalet, who often sounds like a drugged intergalactic goddess in love, the production talents of Johnny Jewel, and the guitar tricks of Adam Miller. All of which makes for a groovy foray into infectious hypnosis.\u003c/p>\n\u003cp>The album begins with Radalet calling her boy after leaving a club. The conversation endears us to the vocalist, especially when she promises to bring home some wine, and prepares us for our journey with her kittenish coo. Next comes one of the standout tracks and the album’s title song. “Night Drive” really sells the idea behind the album, a musical representation of nocturnal patterns mostly noticed from the seat of a moving vehicle. Radalet’s vocals call to mind a groggy drug-addled dream from which one wishes never to wake. The same goes for the next track, “I Want Your Love,” a neatly packed craving for affection buoyed by stimulating guitar sequences.\u003c/p>\n\u003cp>The album’s major moment comes with “Running Up That Hill,” a momentous cover of Kate Bush’s classic. This version is more restrained than its inspiration and sounds sexier and more elegant. Radelet turns the simple line “It’s you and me” into a persuasive mantra, slowly convincing the listener that her words are meant for him. Alas, it’s not reality, just a side effect of her ethereal pipes, which coalesce perfectly with the distorted harmonicas. The song’s haunting guitar arpeggios and Radelet’s passionate delivery will place this spectacular redo into heavy rotation.\u003c/p>\n\u003cp>“The Killing Spree” takes a turn away from love “hill” down a dark, narrow road that shouldn’t be driven this late at night. Thoughts of cold murder and bogeymen arise sounding much like the score of a Dario Argento flick (\u003cb>Suspiria\u003c/b> is a must-see). If you’ve escaped with your life, “Healer,” a standout Joy Division-influenced number, and “Mask,” a groove-worthy experience of bouncing moog synth, follow to rid any residual hesitation or doubt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Neil Young: Chrome Dreams II",
"headTitle": "Neil Young: Chrome Dreams II | KQED",
"content": "\u003cp>\u003cb>Chrome Dreams II\u003c/b>, the third studio CD from Neil Young in as many years, takes its name from an album that was recorded more than 30 years ago but was never officially released. A bootleg of \u003cb>Chrome Dreams\u003c/b> surfaced in the 1990s — I listen to my beloved downloaded copy about two or three times a month. Other than their shared title and author, the two works have little in common. \u003cb>Chrome Dreams\u003c/b> is a richly textured, rough-around-the-edges collage of 18 tracks, including a love song to Pocahontas, an ode to homegrown pot, and I’m betting the only song ever written that features the lyrics “even Richard Nixon has got soul.” \u003cb>Chrome Dreams II\u003c/b> is an uneven follow up: Would that it were as unpolished, irreverent, and ineffable as its mysterious predecessor.\u003c/p>\n\u003cp>Young, who turns 62 in November and performs this weekend at the 21st Annual \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">Bridge School Benefit\u003c/a> concert at the Shoreline Amphitheatre in Mountain View this weekend, has had a remarkable 21st century. There was his role after 9/11 as one of our nation’s designated minstrel elders — he performed John Lennon’s humanist plea, “Imagine,” during a live telecast immediately after the catastrophe and again at the 2001 incarnation of Bridge a scant six weeks later (where I was sitting, there was hardly a dry eye in the house). Then came the gorgeous, minimalist, rock-musical \u003cb>Greendale\u003c/b> in 2003, followed by a year and a half of touring, often with a full company of actors in tow. But it was a brain aneurysm in 2005, which interrupted the recording of his acclaimed \u003cb>Prairie Wind\u003c/b>, that appears to have had the most impact on Young’s current body of work. That near-death experience prompted songs like “When God Made Me” from \u003cb>Prairie Wind\u003c/b> and perhaps even contributed to the 2006 CD \u003cb>Living With War\u003c/b>, which gets much of its urgency from having been recorded in just two weeks (to insure that its time-is-running-out message is clearly heard by listeners, it features a patriotic little ditty called “Let’s Impeach The President”).\u003c/p>\n\u003cp>With only a few exceptions, \u003cb>Chrome Dreams II\u003c/b> doesn’t get under one’s skin as satisfyingly or frequently as Young’s previous recent efforts. The album opens with sweet-sounding harmonica squeaking out a nursery-rhyme melody called “Beautiful Bluebird.” No deep metaphors here, it’s a song about a beautiful bluebird, “dippin’ and bobbin’ in the sun.” Uh, okay. This sentimental number is followed by the folksy “Boxcar,” which paints a portrait of the artist as an old man almost completely devoid of free will, which doesn’t sound so bad to hear Young sing it, but still…\u003c/p>\n\u003cp>The CD’s best track is an 18-minute dirge called “Ordinary People,” which grinds its way, horn section and all, through a series of distinctively American set pieces and archetypes — the Vegas bar with the big fight on the big screen; evil arms dealers and well-intentioned vigilantes; robotic consumers and the equally numb auto workers who crank out cars that people no longer want; \u003cb>High Noon\u003c/b> cowboys and \u003cb>American Graffiti\u003c/b> drag racers. This is the Neil Young that most fans are probably most comfortable with, the care-worn bard singing about the crushed hopes and dreams of common Joes and Janes, the “patch of ground people” as he calls them. Which is why the songs of personal enlightenment and spiritual peace that come next, while entirely understandable considering what Young’s been through, are so disappointing. “Ordinary People” would be a tough act for any song to follow, but “Shining Light” seems especially soft and squishy, with its gentle rocking chord progressions and beseeching prayer for life’s simple blessings to please continue, Amen.\u003c/p>\n\u003cp>“The Believer” and the CD’s closing track, “The Way,” mine the same vein even more overtly. Faith, reverence, and old-time religion have always been aspects of Young’s repertoire, but earlier hymns such as “Mother Earth” have been pleas for the planet while “When God Made Me” was a clever acknowledgment of the spiritual stirrings in Young’s heart, even as he mocked the self-absorbed, self-righteous redemption offered by the religious right. In contrast, some of this new stuff is so sincere, it almost tests one’s faith in Neil Young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chrome Dreams II\u003c/b> is out now. The 21st Annual Bridge School Benefit, which is likely to be the only chance this year for Bay Area audiences to hear Neil Young perform songs from the CD, is this weekend, Saturday Oct 27 at 5pm and Sunday October 28 at 2pm. For \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit bridgeschool.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Chrome Dreams II\u003c/b>, the third studio CD from Neil Young in as many years, takes its name from an album that was recorded more than 30 years ago but was never officially released. A bootleg of \u003cb>Chrome Dreams\u003c/b> surfaced in the 1990s — I listen to my beloved downloaded copy about two or three times a month. Other than their shared title and author, the two works have little in common. \u003cb>Chrome Dreams\u003c/b> is a richly textured, rough-around-the-edges collage of 18 tracks, including a love song to Pocahontas, an ode to homegrown pot, and I’m betting the only song ever written that features the lyrics “even Richard Nixon has got soul.” \u003cb>Chrome Dreams II\u003c/b> is an uneven follow up: Would that it were as unpolished, irreverent, and ineffable as its mysterious predecessor.\u003c/p>\n\u003cp>Young, who turns 62 in November and performs this weekend at the 21st Annual \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">Bridge School Benefit\u003c/a> concert at the Shoreline Amphitheatre in Mountain View this weekend, has had a remarkable 21st century. There was his role after 9/11 as one of our nation’s designated minstrel elders — he performed John Lennon’s humanist plea, “Imagine,” during a live telecast immediately after the catastrophe and again at the 2001 incarnation of Bridge a scant six weeks later (where I was sitting, there was hardly a dry eye in the house). Then came the gorgeous, minimalist, rock-musical \u003cb>Greendale\u003c/b> in 2003, followed by a year and a half of touring, often with a full company of actors in tow. But it was a brain aneurysm in 2005, which interrupted the recording of his acclaimed \u003cb>Prairie Wind\u003c/b>, that appears to have had the most impact on Young’s current body of work. That near-death experience prompted songs like “When God Made Me” from \u003cb>Prairie Wind\u003c/b> and perhaps even contributed to the 2006 CD \u003cb>Living With War\u003c/b>, which gets much of its urgency from having been recorded in just two weeks (to insure that its time-is-running-out message is clearly heard by listeners, it features a patriotic little ditty called “Let’s Impeach The President”).\u003c/p>\n\u003cp>With only a few exceptions, \u003cb>Chrome Dreams II\u003c/b> doesn’t get under one’s skin as satisfyingly or frequently as Young’s previous recent efforts. The album opens with sweet-sounding harmonica squeaking out a nursery-rhyme melody called “Beautiful Bluebird.” No deep metaphors here, it’s a song about a beautiful bluebird, “dippin’ and bobbin’ in the sun.” Uh, okay. This sentimental number is followed by the folksy “Boxcar,” which paints a portrait of the artist as an old man almost completely devoid of free will, which doesn’t sound so bad to hear Young sing it, but still…\u003c/p>\n\u003cp>The CD’s best track is an 18-minute dirge called “Ordinary People,” which grinds its way, horn section and all, through a series of distinctively American set pieces and archetypes — the Vegas bar with the big fight on the big screen; evil arms dealers and well-intentioned vigilantes; robotic consumers and the equally numb auto workers who crank out cars that people no longer want; \u003cb>High Noon\u003c/b> cowboys and \u003cb>American Graffiti\u003c/b> drag racers. This is the Neil Young that most fans are probably most comfortable with, the care-worn bard singing about the crushed hopes and dreams of common Joes and Janes, the “patch of ground people” as he calls them. Which is why the songs of personal enlightenment and spiritual peace that come next, while entirely understandable considering what Young’s been through, are so disappointing. “Ordinary People” would be a tough act for any song to follow, but “Shining Light” seems especially soft and squishy, with its gentle rocking chord progressions and beseeching prayer for life’s simple blessings to please continue, Amen.\u003c/p>\n\u003cp>“The Believer” and the CD’s closing track, “The Way,” mine the same vein even more overtly. Faith, reverence, and old-time religion have always been aspects of Young’s repertoire, but earlier hymns such as “Mother Earth” have been pleas for the planet while “When God Made Me” was a clever acknowledgment of the spiritual stirrings in Young’s heart, even as he mocked the self-absorbed, self-righteous redemption offered by the religious right. In contrast, some of this new stuff is so sincere, it almost tests one’s faith in Neil Young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Chrome Dreams II\u003c/b> is out now. The 21st Annual Bridge School Benefit, which is likely to be the only chance this year for Bay Area audiences to hear Neil Young perform songs from the CD, is this weekend, Saturday Oct 27 at 5pm and Sunday October 28 at 2pm. For \u003ca href=\"http://www.bridgeschool.org/events.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit bridgeschool.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://tokyopoliceclub.com/\" target=\"_NEW\">Tokyo Police Club\u003c/a>, who play San Francisco on October 25, 2007 are not only awesome live, they are also wonderfully breathless on stage, like a bunch of hopelessly gawky teenagers. Songs burst out like short rushes of adrenaline, as if to cover up the band’s shy-eyed embarrassment.\u003c/p>\u003cp>Such awkwardness seems to be a hugely undervalued quality these days. Most new acts, even those at the supposedly indie end of the music machine, seem to emerge pumped with confidence, already groomed by video stylists and brand consultants to become spotless, chart-conquering gods.\u003c/p>\u003cp>But I just don’t buy it. I certainly don’t consider myself to be anything other than a geek, after all. So, watching Toronto’s Tokyo Police Club at \u003ca href=\"http://www.theindependentsf.com/\" target=\"_NEW\">The Independent\u003c/a> back in July, I realized that it wasn’t just their spikey, clever power pop that I loved (although, obviously, I did); I had also fallen for their scratchy-edged dorkiness. \u003c/p>\u003cp>They’re like the band I always wanted \u003ca href=\"http://www.thestrokes.com/\" target=\"_NEW\">The Strokes\u003c/a> to be. Sure, I loved The Strokes’ early singles, but I never really consummated my relationship with them. Why? Because they were just too slick and knowing, all rich parents, Swiss finishing schools, cool cliques, and uber-hip New York fashion labels. Ugh. Give me a bunch of awkward losers with wan skin and bottle-bottom glasses any day: ie, Tokyo Police Club.\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And I don’t mean that they have adopted a hipster-style token nerdiness like so many other indie bands. They have a genuine, impossible-to-hide discomfort with being in the spotlight and, in the shape of Graham Wright (keyboards/screaming), a spit in your face, sinew-straining misfit of the finest kind. \u003c/p>\u003cp>Because, while the others try to hide their social discomforts behind their fringes, Wright wears his on his sleeve. He writhes, hunched, with his nose just an inch from his keyboard (which he may or may not have built himself from a kit), before periodically lunging forward to bellow into his microphone with a rasping yell that would make throat doctors weep. He even wears thick-rimmed glasses, which has been the proud badge of musical losers made good from \u003ca href=\"http://www.grahamcoxon.co.uk/\" target=\"_NEW\">Graham Coxon\u003c/a> all the way back to \u003ca href=\"http://www.buddyholly.com/\" target=\"_NEW\">Buddy Holly\u003c/a>.\u003c/p>\u003cp>Needless to say, they sound spectacular. Masters of the short-sharp-shock school of rock, their songs mostly sprint along for just two minutes each, and never, ever stray past the three-minute mark. Their only album release to date, \u003cb>A Lesson In Crime\u003c/b>, is clipped to the point of abruptness, measuring just 17 minutes long by seven songs wide.\u003c/p>\u003cp>Tokyo Police Club speak to the geek in me, and in all of us. When Wright holds up his camera to take a picture of the crowd at the start and end of every gig they play, I suddenly feel prouder of my drawer filled with old gig ticket stubs, and less ashamed about dancing along to his band’s songs like an over-excited dog with three legs. Which can only be a good thing.\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tokyo Police Club play \u003ca href=\"http://www.popscene-sf.com/\" target=\"_NEW\">Popscene\u003c/a> at 330 Ritch Street on October 25, 2007. Doors open at 9pm, and there are no advance sales. Their EP “Smith” is due out November 6 on Paper Bag Records, and a new album is expected to follow early in 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And I don’t mean that they have adopted a hipster-style token nerdiness like so many other indie bands. They have a genuine, impossible-to-hide discomfort with being in the spotlight and, in the shape of Graham Wright (keyboards/screaming), a spit in your face, sinew-straining misfit of the finest kind. \u003c/p>\u003cp>Because, while the others try to hide their social discomforts behind their fringes, Wright wears his on his sleeve. He writhes, hunched, with his nose just an inch from his keyboard (which he may or may not have built himself from a kit), before periodically lunging forward to bellow into his microphone with a rasping yell that would make throat doctors weep. He even wears thick-rimmed glasses, which has been the proud badge of musical losers made good from \u003ca href=\"http://www.grahamcoxon.co.uk/\" target=\"_NEW\">Graham Coxon\u003c/a> all the way back to \u003ca href=\"http://www.buddyholly.com/\" target=\"_NEW\">Buddy Holly\u003c/a>.\u003c/p>\u003cp>Needless to say, they sound spectacular. Masters of the short-sharp-shock school of rock, their songs mostly sprint along for just two minutes each, and never, ever stray past the three-minute mark. Their only album release to date, \u003cb>A Lesson In Crime\u003c/b>, is clipped to the point of abruptness, measuring just 17 minutes long by seven songs wide.\u003c/p>\u003cp>Tokyo Police Club speak to the geek in me, and in all of us. When Wright holds up his camera to take a picture of the crowd at the start and end of every gig they play, I suddenly feel prouder of my drawer filled with old gig ticket stubs, and less ashamed about dancing along to his band’s songs like an over-excited dog with three legs. Which can only be a good thing.\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tokyo Police Club play \u003ca href=\"http://www.popscene-sf.com/\" target=\"_NEW\">Popscene\u003c/a> at 330 Ritch Street on October 25, 2007. Doors open at 9pm, and there are no advance sales. Their EP “Smith” is due out November 6 on Paper Bag Records, and a new album is expected to follow early in 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A friend of mine once told me his theory that everyone’s favorite album is one released in the same year they start college. It’s a flawed proposition, not least because we don’t necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.\u003c/p>\n\u003cp>For example, most of my all-time favorite bands are ones I was listening to when I was around 18 years old: \u003ca href=\"www.4ad.com/pixies/\" target=\"offsite\" rel=\"noopener\">Pixies\u003c/a>, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine\u003c/a>, \u003ca href=\"www.jesusandmarychain.org\" target=\"offsite\" rel=\"noopener\">The Jesus and Mary Chain\u003c/a>, \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a>. So it’s probably no coincidence that now they are all hitting the nostalgia market at around the same time too.\u003c/p>\n\u003cp>While the emotional scars caused by seeing one of the Velvet Underground’s unfortunate European dates in 1993 have largely healed for me, I still have mixed feelings about reunion tours. One constant is that my levels of enthusiasm seem to depend largely on whether or not I saw the band in question the first time round.\u003c/p>\n\u003cp>For example, I was thrilled to finally get the chance to see the Pixies in 2004, as I had missed my one previous chance way back in 1991 (although in the end I didn’t miss much in Glasgow that night as part of the stage collapsed just a few minutes into the gig: you can \u003ca href=\"http://www.productmagazine.co.uk/index.php/film/P1/\" target=\"offsite\" rel=\"noopener\">read more here\u003c/a>).\u003c/p>\n\u003cp>In contrast, I’m much less enthusiastic about seeing The Jesus and Mary Chain when they play San Francisco next month (they appear at the \u003ca href=\"http://www.livenation.com/event/getEvent/eventId/296430\" target=\"offsite\" rel=\"noopener\">Fillmore\u003c/a> on October 26 and 27, 2007), or about the rumors that \u003ca href=\"http://www.nme.com/news/my-bloody-valentine/30792\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine might reform\u003c/a> for next year’s \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a>. I saw both bands play on the same bill of the Lollapallooza-inspired “Rollercoaster” tour in 1992, and it was almost certainly the greatest concert I’ve ever been to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>JAMC had almost finished their opening song before I even realized which one they were playing through the dense torrent of feedback (it was “Sidewalking,” for the record). And I can’t think of anything as brutal, beautiful or astonishing as hearing My Bloody Valentine play “You Made Me Realise” live, complete with its earth-shaking “apocalypse” interlude (Mike McGonigal devotes a whole chapter to this experience in \u003ca href=\"http://www.amazon.com/My-Bloody-Valentines-Loveless-33/dp/0826415482\" target=\"offsite\" rel=\"noopener\">his book\u003c/a> on the band’s defining album \u003cb>Loveless\u003c/b>).\u003c/p>\n\u003cp>Also appearing were fellow feedback fans Dinosaur Jr. whose albums \u003cb>Bug\u003c/b> and \u003cb>Fossils\u003c/b> backed JAMC’s \u003cb>Barbed Wire Kisses\u003c/b> on a 90-minute cassette that changed my life (and of course they’ve also recently reformed their classic line-up and played San Francisco’s \u003ca href=\"http://www.mezzaninesf.com/\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on September 9), plus some perky young indie pop upstarts called \u003ca href=\"http://www.blur.co.uk/\" target=\"offsite\" rel=\"noopener\">Blur\u003c/a>, whose music career I confidently predicted would soon disappear without a trace. Oops.\u003c/p>\n\u003cp>To what extent my memory of that night has been colored by 15 years of sepia-tinted reminiscing is kind of beside the point. What’s important is that there is little chance now either the Mary Chain or MBV could live up to what I remember.\u003c/p>\n\u003cp>One sentimental exercise I am a fan of is bands playing one of their old albums in its entirety, as yet another act I was heavily into as a teenager, \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>, did in Berkeley this year to promote the “deluxe” reissue of \u003cb>Daydream Nation\u003c/b>. The organizers of that gig curate a series of similar concerts every year, mostly in London but also here in the States, called \u003ca href=\"http://www.dontlookbackconcerts.com/\" target=\"offsite\" rel=\"noopener\">Don’t Look Back\u003c/a>. The results are unashamedly nostalgic but also a little new; few bands ever play a whole album live and in order, after all.\u003c/p>\n\u003cp>It’s also fun to speculate on which albums you would or wouldn’t want to be included, which brings me to the subject that inspired this whole post: the fact that just a few days after I left my old home in the U.K. earlier this year, it was announced that this year’s \u003cb>Don’t Look Back\u003c/b> program includes the \u003ca href=\"http://www.cowboyjunkies.com/\" target=\"offsite\" rel=\"noopener\">Cowboy Junkies\u003c/a> playing their 1987 album \u003ca href=\"http://www.dontlookbackconcerts.com/uk/london/cowboy/\" target=\"offsite\" rel=\"noopener\">The Trinity Session\u003c/a> at London’s Royal Albert Hall on October 10, 2007. \u003c/p>\n\u003cp>This is the one album I have listened to more than any other in my life, and it has become the musical equivalent of comfort food or a favorite sweater for me: soft, warm and inviting. And it’s the one album I’d love to see performed live more than any other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah well, maybe they’ll get together to do it again in another 20 years’ time.\u003c/p>\n\n",
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"excerpt": "A friend of mine once told me his theory that everyone's favorite album is one released in the same year they start college. It's a flawed proposition, not least because we don't necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A friend of mine once told me his theory that everyone’s favorite album is one released in the same year they start college. It’s a flawed proposition, not least because we don’t necessarily hear albums for the first time in the same year they are released (nor does everyone go to college, obviously), but the guiding principle behind it is surprisingly accurate.\u003c/p>\n\u003cp>For example, most of my all-time favorite bands are ones I was listening to when I was around 18 years old: \u003ca href=\"www.4ad.com/pixies/\" target=\"offsite\" rel=\"noopener\">Pixies\u003c/a>, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine\u003c/a>, \u003ca href=\"www.jesusandmarychain.org\" target=\"offsite\" rel=\"noopener\">The Jesus and Mary Chain\u003c/a>, \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a>. So it’s probably no coincidence that now they are all hitting the nostalgia market at around the same time too.\u003c/p>\n\u003cp>While the emotional scars caused by seeing one of the Velvet Underground’s unfortunate European dates in 1993 have largely healed for me, I still have mixed feelings about reunion tours. One constant is that my levels of enthusiasm seem to depend largely on whether or not I saw the band in question the first time round.\u003c/p>\n\u003cp>For example, I was thrilled to finally get the chance to see the Pixies in 2004, as I had missed my one previous chance way back in 1991 (although in the end I didn’t miss much in Glasgow that night as part of the stage collapsed just a few minutes into the gig: you can \u003ca href=\"http://www.productmagazine.co.uk/index.php/film/P1/\" target=\"offsite\" rel=\"noopener\">read more here\u003c/a>).\u003c/p>\n\u003cp>In contrast, I’m much less enthusiastic about seeing The Jesus and Mary Chain when they play San Francisco next month (they appear at the \u003ca href=\"http://www.livenation.com/event/getEvent/eventId/296430\" target=\"offsite\" rel=\"noopener\">Fillmore\u003c/a> on October 26 and 27, 2007), or about the rumors that \u003ca href=\"http://www.nme.com/news/my-bloody-valentine/30792\" target=\"offsite\" rel=\"noopener\">My Bloody Valentine might reform\u003c/a> for next year’s \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a>. I saw both bands play on the same bill of the Lollapallooza-inspired “Rollercoaster” tour in 1992, and it was almost certainly the greatest concert I’ve ever been to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>JAMC had almost finished their opening song before I even realized which one they were playing through the dense torrent of feedback (it was “Sidewalking,” for the record). And I can’t think of anything as brutal, beautiful or astonishing as hearing My Bloody Valentine play “You Made Me Realise” live, complete with its earth-shaking “apocalypse” interlude (Mike McGonigal devotes a whole chapter to this experience in \u003ca href=\"http://www.amazon.com/My-Bloody-Valentines-Loveless-33/dp/0826415482\" target=\"offsite\" rel=\"noopener\">his book\u003c/a> on the band’s defining album \u003cb>Loveless\u003c/b>).\u003c/p>\n\u003cp>Also appearing were fellow feedback fans Dinosaur Jr. whose albums \u003cb>Bug\u003c/b> and \u003cb>Fossils\u003c/b> backed JAMC’s \u003cb>Barbed Wire Kisses\u003c/b> on a 90-minute cassette that changed my life (and of course they’ve also recently reformed their classic line-up and played San Francisco’s \u003ca href=\"http://www.mezzaninesf.com/\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on September 9), plus some perky young indie pop upstarts called \u003ca href=\"http://www.blur.co.uk/\" target=\"offsite\" rel=\"noopener\">Blur\u003c/a>, whose music career I confidently predicted would soon disappear without a trace. Oops.\u003c/p>\n\u003cp>To what extent my memory of that night has been colored by 15 years of sepia-tinted reminiscing is kind of beside the point. What’s important is that there is little chance now either the Mary Chain or MBV could live up to what I remember.\u003c/p>\n\u003cp>One sentimental exercise I am a fan of is bands playing one of their old albums in its entirety, as yet another act I was heavily into as a teenager, \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>, did in Berkeley this year to promote the “deluxe” reissue of \u003cb>Daydream Nation\u003c/b>. The organizers of that gig curate a series of similar concerts every year, mostly in London but also here in the States, called \u003ca href=\"http://www.dontlookbackconcerts.com/\" target=\"offsite\" rel=\"noopener\">Don’t Look Back\u003c/a>. The results are unashamedly nostalgic but also a little new; few bands ever play a whole album live and in order, after all.\u003c/p>\n\u003cp>It’s also fun to speculate on which albums you would or wouldn’t want to be included, which brings me to the subject that inspired this whole post: the fact that just a few days after I left my old home in the U.K. earlier this year, it was announced that this year’s \u003cb>Don’t Look Back\u003c/b> program includes the \u003ca href=\"http://www.cowboyjunkies.com/\" target=\"offsite\" rel=\"noopener\">Cowboy Junkies\u003c/a> playing their 1987 album \u003ca href=\"http://www.dontlookbackconcerts.com/uk/london/cowboy/\" target=\"offsite\" rel=\"noopener\">The Trinity Session\u003c/a> at London’s Royal Albert Hall on October 10, 2007. \u003c/p>\n\u003cp>This is the one album I have listened to more than any other in my life, and it has become the musical equivalent of comfort food or a favorite sweater for me: soft, warm and inviting. And it’s the one album I’d love to see performed live more than any other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah well, maybe they’ll get together to do it again in another 20 years’ time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Devendra Banhart at the Palace of Fine Arts",
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"content": "\u003cp>First of all, it is hard to overstate how emotionally freaked-out girls get about Devendra Banhart. An hour before I went to his September 7, 2007 concert at the Palace of Fine Arts, I got a call from a hippie girl I had just met at the Green Tortoise youth hostel. M was just beside herself with nervous laughter, gushing at the prospect that she might get to meet a man she said she would do anything to see in person, marry, sleep with, etc. She wanted to know if she could come with me. I was about to leave anyway so I said sure…why not?\u003c/p>\n\u003cp>Her hair was freshly blow-dried, her nails painted, she wore cut off jeans with tights, and a strange necklace hung around her neck. Most importantly she had brought along her magic rock. Her magic rock, she told me (which she got in Kansas), divined that one day she would meet Devendra and that he would fall in love with her. She believed that an element of fate would bring them together and that it was a mystical thing.\u003c/p>\n\u003cp>Yet she didn’t even recognize Devendra as he approached me on the sidewalk in front of the Palace of Fine Arts. I had to get her to focus on the guy coming our way so she didn’t miss him. He and I chatted for a moment and as I went to shake his hand he reached out and gave me a big hug instead. I knew him from the Mission District and from art shows here (FYI: he’s a famous artist too). The band was about to do the sound check so I knew it wasn’t really a good time to talk. But he smiled, glanced over at M then went back inside with a group of people.\u003c/p>\n\u003cp>It took a few minutes for M to process what had just happened to her. After all, Devendra Banhart had just looked at her; they were face to face! She kept repeating “I can’t believe I just met him, I can’t believe I just met him. Oh my god, oh my god.” Her first rational thought was that she wanted to go get a bottle of whiskey somewhere to calm down. Since we arrived early, we took swigs of JD and coke on the way back to the Palace.\u003c/p>\n\u003cp>By the front doors emotions were running high. A guy standing next to us had surprised his girlfriend by taking her to the show in a cab. But he did so without telling her. She of course was upset because she had no time to get ready or to change what she was wearing. She was on the verge of tears. How could he do that to her? Just surprise her like that? She was livid, so she walked away from him and drank half a bottle of wine with some other girls outside. Meanwhile he paced nervously wondering out loud what he had done wrong. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside the Palace the opening act began. It was Noah Georgeson, a music producer and Banhart guitarist, playing songs from his recently released solo album \u003cb>Find Shelter\u003c/b>. He sat on a chair and played his guitar to a packed house. Georgeson holds a Masters Degree in music composition from Mills College, and first gained notice with his producing of Johanna Newsom and Banhart’s earlier albums. Like Banhart, his songs are folksy and world-weary. He created a very calming atmosphere with his set.\u003c/p>\n\u003cp>After a brief intermission six musicians slowly walked on stage. It’s always a guess as to what the band will be called. Previously they have named themselves the Hairy Fairy band, Fried Hummingbird, First Woman Millionaire, Las Putas Locas, Stoner Boner, Bathhouse Of The Winds — but now, as of September 1st, they’re known as Devendra Banhart and the Spiritual Bonerz. Along with a new name and a new album, the music itself introduces another chapter in the band’s development. Influences of country, blues, ’70s classic rock, Son Cubano, Samba and even doo-wop were present in many of the songs. The sound of the new album, \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> (SRDTM), is an evolutionary step from the previous one, \u003cb>Cripple Crow\u003c/b>.\u003c/p>\n\u003cp>Where \u003cb>Cripple Crow\u003c/b> had more catchy tunes and solo guitar work, \u003cb>SRDTM\u003c/b> has high production values and shows off the musicianship of the band. It also demonstrates their knack for understanding various genres of music and blending them seamlessly. This is the sort of album you’d enjoy while sipping a cognac in a dimly lit, smoke-filled bar after having broken up with your girlfriend.\u003c/p>\n\u003cp>When asked about the influences in the new album, Banhart replied to me via email: “The ’70s thing, although it MIGHT be VERY accurate, I tend to not feel any alliance or attempt to approximate an era that, though I wasn’t there, I do have hundreds of records to get a vibe from.”\u003c/p>\n\u003cp>Midway through the set, when Devendra announced they were going to play a new song called “Bad Girl,” I kid you not — there was a collective and audible gasp from half of the women in room. It was as if he had written a song for them, like he knew them somehow, and understood.\u003c/p>\n\u003cp>With a slide guitar motif and meloncholic vocals, the song is a dreamy, slow groove. It’s a ballad that wonders, “Why did you leave me? Well I don’t really know…” It reminded me of Beck’s neo-country sounding “The Golden Age,” with it’s looking back to what-might-have-been sentiment and guitar phrasings. It’s hard to explain the energy of the crowd, but many people called out to the group during the song pledging their love to guys in the band.\u003c/p>\n\u003cp>“Carmencita,” another track from the new album, is a song that got people dancing right away. Crowded in the front rows people swayed back and forth. All six band members played together to form a BIG sound, just the opposite of the solo guitar work that Banhart first became known for. The strong reverb on the vocals (to psychedelic effect), a thick sumptuous bass line and copious amounts of bongo drums rocked the house.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People in the front rows got so excited they started jumping up on the stage. Soon the crowd was so big you couldn’t see the band and everyone was dancing. Yet despite all the fun, about half the songs they played were from \u003cb>Cripple Crow\u003c/b> and \u003cb>Rejoicing in the Hands\u003c/b>. We only got to hear a handful of new songs. \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> is available September 25, 2007.\u003c/p>\n\n",
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"excerpt": "First of all, it is hard to overstate how emotionally freaked-out girls get about Devendra Banhart. An hour before I went to his September 7, 2007 concert at the Palace of Fine Arts, I got a call from a hippie girl I had just met at the Green Tortoise youth hostel. M was just beside herself with nervous laughter, gushing at the prospect that she might get to meet a man she said she would do anything to see in person, marry, sleep with, etc. She wanted to know if she could come with me. I was about to leave anyway so I said sure...why not?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First of all, it is hard to overstate how emotionally freaked-out girls get about Devendra Banhart. An hour before I went to his September 7, 2007 concert at the Palace of Fine Arts, I got a call from a hippie girl I had just met at the Green Tortoise youth hostel. M was just beside herself with nervous laughter, gushing at the prospect that she might get to meet a man she said she would do anything to see in person, marry, sleep with, etc. She wanted to know if she could come with me. I was about to leave anyway so I said sure…why not?\u003c/p>\n\u003cp>Her hair was freshly blow-dried, her nails painted, she wore cut off jeans with tights, and a strange necklace hung around her neck. Most importantly she had brought along her magic rock. Her magic rock, she told me (which she got in Kansas), divined that one day she would meet Devendra and that he would fall in love with her. She believed that an element of fate would bring them together and that it was a mystical thing.\u003c/p>\n\u003cp>Yet she didn’t even recognize Devendra as he approached me on the sidewalk in front of the Palace of Fine Arts. I had to get her to focus on the guy coming our way so she didn’t miss him. He and I chatted for a moment and as I went to shake his hand he reached out and gave me a big hug instead. I knew him from the Mission District and from art shows here (FYI: he’s a famous artist too). The band was about to do the sound check so I knew it wasn’t really a good time to talk. But he smiled, glanced over at M then went back inside with a group of people.\u003c/p>\n\u003cp>It took a few minutes for M to process what had just happened to her. After all, Devendra Banhart had just looked at her; they were face to face! She kept repeating “I can’t believe I just met him, I can’t believe I just met him. Oh my god, oh my god.” Her first rational thought was that she wanted to go get a bottle of whiskey somewhere to calm down. Since we arrived early, we took swigs of JD and coke on the way back to the Palace.\u003c/p>\n\u003cp>By the front doors emotions were running high. A guy standing next to us had surprised his girlfriend by taking her to the show in a cab. But he did so without telling her. She of course was upset because she had no time to get ready or to change what she was wearing. She was on the verge of tears. How could he do that to her? Just surprise her like that? She was livid, so she walked away from him and drank half a bottle of wine with some other girls outside. Meanwhile he paced nervously wondering out loud what he had done wrong. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inside the Palace the opening act began. It was Noah Georgeson, a music producer and Banhart guitarist, playing songs from his recently released solo album \u003cb>Find Shelter\u003c/b>. He sat on a chair and played his guitar to a packed house. Georgeson holds a Masters Degree in music composition from Mills College, and first gained notice with his producing of Johanna Newsom and Banhart’s earlier albums. Like Banhart, his songs are folksy and world-weary. He created a very calming atmosphere with his set.\u003c/p>\n\u003cp>After a brief intermission six musicians slowly walked on stage. It’s always a guess as to what the band will be called. Previously they have named themselves the Hairy Fairy band, Fried Hummingbird, First Woman Millionaire, Las Putas Locas, Stoner Boner, Bathhouse Of The Winds — but now, as of September 1st, they’re known as Devendra Banhart and the Spiritual Bonerz. Along with a new name and a new album, the music itself introduces another chapter in the band’s development. Influences of country, blues, ’70s classic rock, Son Cubano, Samba and even doo-wop were present in many of the songs. The sound of the new album, \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> (SRDTM), is an evolutionary step from the previous one, \u003cb>Cripple Crow\u003c/b>.\u003c/p>\n\u003cp>Where \u003cb>Cripple Crow\u003c/b> had more catchy tunes and solo guitar work, \u003cb>SRDTM\u003c/b> has high production values and shows off the musicianship of the band. It also demonstrates their knack for understanding various genres of music and blending them seamlessly. This is the sort of album you’d enjoy while sipping a cognac in a dimly lit, smoke-filled bar after having broken up with your girlfriend.\u003c/p>\n\u003cp>When asked about the influences in the new album, Banhart replied to me via email: “The ’70s thing, although it MIGHT be VERY accurate, I tend to not feel any alliance or attempt to approximate an era that, though I wasn’t there, I do have hundreds of records to get a vibe from.”\u003c/p>\n\u003cp>Midway through the set, when Devendra announced they were going to play a new song called “Bad Girl,” I kid you not — there was a collective and audible gasp from half of the women in room. It was as if he had written a song for them, like he knew them somehow, and understood.\u003c/p>\n\u003cp>With a slide guitar motif and meloncholic vocals, the song is a dreamy, slow groove. It’s a ballad that wonders, “Why did you leave me? Well I don’t really know…” It reminded me of Beck’s neo-country sounding “The Golden Age,” with it’s looking back to what-might-have-been sentiment and guitar phrasings. It’s hard to explain the energy of the crowd, but many people called out to the group during the song pledging their love to guys in the band.\u003c/p>\n\u003cp>“Carmencita,” another track from the new album, is a song that got people dancing right away. Crowded in the front rows people swayed back and forth. All six band members played together to form a BIG sound, just the opposite of the solo guitar work that Banhart first became known for. The strong reverb on the vocals (to psychedelic effect), a thick sumptuous bass line and copious amounts of bongo drums rocked the house.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People in the front rows got so excited they started jumping up on the stage. Soon the crowd was so big you couldn’t see the band and everyone was dancing. Yet despite all the fun, about half the songs they played were from \u003cb>Cripple Crow\u003c/b> and \u003cb>Rejoicing in the Hands\u003c/b>. We only got to hear a handful of new songs. \u003cb>Smokey Rolls Down Thunder Mountain\u003c/b> is available September 25, 2007.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.\u003c/p>\n\u003cp>By the time I arrived on the island, a massive show with thirteen bands was already under way. My rough guess was that there were between two and three thousand people at the festival. \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=14964\" target=\"offsite\" rel=\"noopener\">Ghostland Observatory\u003c/a> was playing a song called “Sad, Sad City,” which sounded like early 80’s post punk with modulated drum beats and laser beam sound effects. The keyboardist, Thomas Ross Turner was wearing a cape (which I liked because capes are cool) while the singer, Aaron Behrens, ran around on stage like he’d just had his twelfth cup of coffee for the day.\u003c/p>\n\u003cp>Pretty much without exception everyone was there to dance. Even the too-cool-for-school kids in the VIP section were getting up out of their chairs to catch the groove. After being hassled by a white rapper that resembled \u003cb>Vanilla Ice\u003c/b>, (he insisted I give him a high-five in exchange for a copy of his free “underground” demo CD), I decided to just walk around.\u003c/p>\n\u003cp>I wandered through the crowd and marveled at the $7 beers, the $6 cheese pizza slices, the $3.00 cups of coffee and resolved to just keep chewing on the very delicious piece of gum a friend of mine had given me. Besides which, there were little, mysterious booths everywhere so I decided to check them out while the next act, \u003cb>M.I.A.\u003c/b> was setting up.\u003c/p>\n\u003cp>So many hipsters were out in the heat, moving in all directions — and the festival was so huge, I really didn’t know where to go. Then I saw a commotion near an ATM machine and several people seemed really excited by something.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like frenetic honey bees buzzing around their hive, young women were crowded around several little jewelry tables. I could see lots of handmade earrings, necklaces and various trinkets made of horn, bone, coral, mother of pearl, and other seashells. Girls were trying on rings and necklaces and the guys who were behind the tables at what I think was called \u003cb>Coconut Jewelry\u003c/b>, were quite busy answering a flurry of questions.\u003c/p>\n\u003cp>A few booths down was a tent called \u003ca href=\"http://www.madusalon.com/\" target=\"offsite\" rel=\"noopener\">Medusalon\u003c/a>. Inexplicably, about a dozen people were getting their hair cut. To me it seemed odd that they were taking time out of the concert (where tickets cost $58 for a day pass) to do their hair. Yet there was also a line of people waiting their turn. Other booths included local publisher \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, 826 Valencia, Students for a Free Tibet, Pretty Fun Jewelry, \u003ca href=\"http://www.paxtongate.com/\" target=\"offsite\" rel=\"noopener\">Paxton Gate\u003c/a>, Recyclopolis, NOPAL (silk-screened t-shirts), numerous food purveyors and one large booth with a sign that said simply “Merchandise.”\u003c/p>\n\u003cp>London based \u003cb>M.I.A.\u003c/b> got on stage and was basically a woman with her D.J. backup. And like many of the bands at the festival, they would have sounded a lot better in a club. It may not matter but part of \u003cb>M.I.A.\u003c/b>‘s hype is that the singer’s father was co-founder of a Sri Lankan Tamil militant group. The so called ‘Tamil Tigers’ by the way, grimly pioneered the use of suicide bombers long before Hamas, Hezbollah or any other middle eastern groups. With this grim edge she is able to claim a sort of Avant Garde credibility among certain audiences. After all, she is the daughter of a true rebel leader.\u003c/p>\n\u003cp>Yet the music just wasn’t standing out — instead, the simple back beats and choppy, sampled French horns on one song reminded me of a poor attempt at being funky, which is bad news. As the artist Tom Sachs once said, “It don’t mean a thing if it ain’t got that swing.” Which goes for music as well as any artistic endeavor. A good example of the sort of song \u003ca href=\"http://www.myspace.com/mia\" target=\"offsite\" rel=\"noopener\">M.I.A.\u003c/a> was attempting would be “Brass Monkey” by the Beastie Boys (which really was dissonant and yes, funky). At one point during her set she beckoned the crowd to wave their hands in the air, calling for “all the ladies to come up and dance on stage.” She then climbed up the scaffolding near the speakers and sang to the choppy beats. It was quite possible it was just a bad day for her and her D.J. Yet despite my lack of enthusiasm for the music, a number of couples started making out in the crowd around me. I couldn’t tell if it was the music or some other substance, which hung in the air. But like I said, people were there to dance.\u003c/p>\n\u003cp>Across the field another band, \u003ca href=\"http://www.westindiangirl.com/\" target=\"offsite\" rel=\"noopener\">West Indian Girl\u003c/a>, was starting up. This was an indie rock group from L.A. with a kind of melodic/psychedelic guitar that hovered over the other instruments, pulling them all into some sort of wonderful vortex. Their vocal harmonies and classic rock nostalgia sound was an oasis in the festival’s first day, which showcased electronica. Where M.I.A. was trying too hard, West Indian Girl seemed to be just enjoying themselves. Great singing, two keyboardists, and a solid rhythm section aided the heavily effected guitar. Fronted by Francis Ten and Robert James the band played a great set.\u003c/p>\n\u003cp>Next up were \u003ca href=\"http://www.djshadow.com/\" target=\"offsite\" rel=\"noopener\">DJ Shadow\u003c/a> and \u003ca href=\"http://www.cutchemist.com/\" target=\"offsite\" rel=\"noopener\">Cut Chemist\u003c/a>. Their concept revolved around the fact that they were only going to play 45rpm records, which sounded good but probably limited their creativity. They began by laying down some generic house beats and then just made them louder. At one point “Eye of the Tiger” was put on over some beats and it was just kind of silly. Their mixes seemed more like an academic exercise and so while it was artistically interesting, it went on a little bit too long. One highlight of the hour-long set was when a large projection behind them showed an animated jukebox that used laser beams to blow up ipods.\u003c/p>\n\u003cp>I was especially interested in the group that came on next — \u003ca href=\"http://www.gotanproject.com/\" target=\"offsite\" rel=\"noopener\">The Gotan Project\u003c/a>. They stood out partly because they are based in Paris, and partly because they blend complex electronica with traditional Tango music. Gotan is an anagram of Tango. It’s a kind of music that favors a passionate embrace between the dancers as they move. For that reason the Tango is considered one of the most romantic kinds of dancing one can do.\u003c/p>\n\u003cp>The musicians came out in their nice white suits while the DJ and drum machines were set up behind them. Their songs were great to dance to but also just as great if you wanted to kick back and hear great artists do their thing. They were easily the best band I heard at the show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As it got dark \u003ca href=\"http://www.thieverycorporation.com/\" target=\"offsite\" rel=\"noopener\">Thievery Corporation\u003c/a> played to a crowd that had grown to at least five thousand people. They played an eclectic group of songs and had everyone dancing even though it was getting cold. As they played their hit “The Richest man in Babylon” people started leaving the festival. The reggae was great exit music. It had been a long day.\u003c/p>\n\n",
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"excerpt": "Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people define themselves by what kind of music they listen to. So in a very real sense attending an enormous outdoor concert such as the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> can get them in touch with who they really are.\u003c/p>\n\u003cp>By the time I arrived on the island, a massive show with thirteen bands was already under way. My rough guess was that there were between two and three thousand people at the festival. \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=14964\" target=\"offsite\" rel=\"noopener\">Ghostland Observatory\u003c/a> was playing a song called “Sad, Sad City,” which sounded like early 80’s post punk with modulated drum beats and laser beam sound effects. The keyboardist, Thomas Ross Turner was wearing a cape (which I liked because capes are cool) while the singer, Aaron Behrens, ran around on stage like he’d just had his twelfth cup of coffee for the day.\u003c/p>\n\u003cp>Pretty much without exception everyone was there to dance. Even the too-cool-for-school kids in the VIP section were getting up out of their chairs to catch the groove. After being hassled by a white rapper that resembled \u003cb>Vanilla Ice\u003c/b>, (he insisted I give him a high-five in exchange for a copy of his free “underground” demo CD), I decided to just walk around.\u003c/p>\n\u003cp>I wandered through the crowd and marveled at the $7 beers, the $6 cheese pizza slices, the $3.00 cups of coffee and resolved to just keep chewing on the very delicious piece of gum a friend of mine had given me. Besides which, there were little, mysterious booths everywhere so I decided to check them out while the next act, \u003cb>M.I.A.\u003c/b> was setting up.\u003c/p>\n\u003cp>So many hipsters were out in the heat, moving in all directions — and the festival was so huge, I really didn’t know where to go. Then I saw a commotion near an ATM machine and several people seemed really excited by something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like frenetic honey bees buzzing around their hive, young women were crowded around several little jewelry tables. I could see lots of handmade earrings, necklaces and various trinkets made of horn, bone, coral, mother of pearl, and other seashells. Girls were trying on rings and necklaces and the guys who were behind the tables at what I think was called \u003cb>Coconut Jewelry\u003c/b>, were quite busy answering a flurry of questions.\u003c/p>\n\u003cp>A few booths down was a tent called \u003ca href=\"http://www.madusalon.com/\" target=\"offsite\" rel=\"noopener\">Medusalon\u003c/a>. Inexplicably, about a dozen people were getting their hair cut. To me it seemed odd that they were taking time out of the concert (where tickets cost $58 for a day pass) to do their hair. Yet there was also a line of people waiting their turn. Other booths included local publisher \u003ca href=\"http://www.mcsweeneys.net/\" target=\"offsite\" rel=\"noopener\">McSweeney’s\u003c/a>, 826 Valencia, Students for a Free Tibet, Pretty Fun Jewelry, \u003ca href=\"http://www.paxtongate.com/\" target=\"offsite\" rel=\"noopener\">Paxton Gate\u003c/a>, Recyclopolis, NOPAL (silk-screened t-shirts), numerous food purveyors and one large booth with a sign that said simply “Merchandise.”\u003c/p>\n\u003cp>London based \u003cb>M.I.A.\u003c/b> got on stage and was basically a woman with her D.J. backup. And like many of the bands at the festival, they would have sounded a lot better in a club. It may not matter but part of \u003cb>M.I.A.\u003c/b>‘s hype is that the singer’s father was co-founder of a Sri Lankan Tamil militant group. The so called ‘Tamil Tigers’ by the way, grimly pioneered the use of suicide bombers long before Hamas, Hezbollah or any other middle eastern groups. With this grim edge she is able to claim a sort of Avant Garde credibility among certain audiences. After all, she is the daughter of a true rebel leader.\u003c/p>\n\u003cp>Yet the music just wasn’t standing out — instead, the simple back beats and choppy, sampled French horns on one song reminded me of a poor attempt at being funky, which is bad news. As the artist Tom Sachs once said, “It don’t mean a thing if it ain’t got that swing.” Which goes for music as well as any artistic endeavor. A good example of the sort of song \u003ca href=\"http://www.myspace.com/mia\" target=\"offsite\" rel=\"noopener\">M.I.A.\u003c/a> was attempting would be “Brass Monkey” by the Beastie Boys (which really was dissonant and yes, funky). At one point during her set she beckoned the crowd to wave their hands in the air, calling for “all the ladies to come up and dance on stage.” She then climbed up the scaffolding near the speakers and sang to the choppy beats. It was quite possible it was just a bad day for her and her D.J. Yet despite my lack of enthusiasm for the music, a number of couples started making out in the crowd around me. I couldn’t tell if it was the music or some other substance, which hung in the air. But like I said, people were there to dance.\u003c/p>\n\u003cp>Across the field another band, \u003ca href=\"http://www.westindiangirl.com/\" target=\"offsite\" rel=\"noopener\">West Indian Girl\u003c/a>, was starting up. This was an indie rock group from L.A. with a kind of melodic/psychedelic guitar that hovered over the other instruments, pulling them all into some sort of wonderful vortex. Their vocal harmonies and classic rock nostalgia sound was an oasis in the festival’s first day, which showcased electronica. Where M.I.A. was trying too hard, West Indian Girl seemed to be just enjoying themselves. Great singing, two keyboardists, and a solid rhythm section aided the heavily effected guitar. Fronted by Francis Ten and Robert James the band played a great set.\u003c/p>\n\u003cp>Next up were \u003ca href=\"http://www.djshadow.com/\" target=\"offsite\" rel=\"noopener\">DJ Shadow\u003c/a> and \u003ca href=\"http://www.cutchemist.com/\" target=\"offsite\" rel=\"noopener\">Cut Chemist\u003c/a>. Their concept revolved around the fact that they were only going to play 45rpm records, which sounded good but probably limited their creativity. They began by laying down some generic house beats and then just made them louder. At one point “Eye of the Tiger” was put on over some beats and it was just kind of silly. Their mixes seemed more like an academic exercise and so while it was artistically interesting, it went on a little bit too long. One highlight of the hour-long set was when a large projection behind them showed an animated jukebox that used laser beams to blow up ipods.\u003c/p>\n\u003cp>I was especially interested in the group that came on next — \u003ca href=\"http://www.gotanproject.com/\" target=\"offsite\" rel=\"noopener\">The Gotan Project\u003c/a>. They stood out partly because they are based in Paris, and partly because they blend complex electronica with traditional Tango music. Gotan is an anagram of Tango. It’s a kind of music that favors a passionate embrace between the dancers as they move. For that reason the Tango is considered one of the most romantic kinds of dancing one can do.\u003c/p>\n\u003cp>The musicians came out in their nice white suits while the DJ and drum machines were set up behind them. Their songs were great to dance to but also just as great if you wanted to kick back and hear great artists do their thing. They were easily the best band I heard at the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Treasure Island Music Festival -- Day Two",
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"content": "\u003cp>The large, white VIP tent next to the Bridge Stage shaded those who paid a premium to get into the \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> this weekend, but who couldn’t have felt like a very important person on the ride over from the AT&T Park parking lot in the spacious, luxurious Bauer limo buses. I’m not sure how much this cost the festival organizers, but what a brilliant way to get fans in a good mood for the music.\u003c/p>\n\u003cp>My photographer and I sat at a table at the front of the bus and enjoyed lunch purchased just minutes before from the Happy Donuts by the ballpark. The plush seats and fancy music system on the limo bus was rivaled only by the views of the city as we drove along the shore of Yerba Buena and then through the old military base at Treasure Island.\u003c/p>\n\u003cp>Once at the gates of the festival itself, people stepping off the shuttles found no lines — at least earlier in the afternoon — and were handed a guide that featured an easy-to-decipher schedule and a useful map of the facilities.\u003c/p>\n\u003cp>From all indications, the festival was very well planned and went off very nicely. A few sound problems aside, Sunday afternoon and evening were graced by the sun, a nice breeze, some incredible views of Alcatraz and the City, and some great sets from Trainwreck Riders, Sea Wolf, \u003ca href=\"http://www.kqed.org/arts/people/profile.jsp?id=10301\">M. Ward\u003c/a> and Built to Spill.\u003c/p>\n\u003cp>Local folk-rock duo Two Gallants pleased the afternoon crowd with material largely drawn from their second album, \u003cb>What the Toll Tells\u003c/b>, including “Las Cruces Jail,” “Long Summer Day” and “Steady Rollin’.” Though the drums sounded bass-heavy and muffled and the show didn’t have the intensity it has in a smaller, indoor venue, it was still quite satisfying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>M Ward’s raspy folk went down very well in the festival setting as he brought along a full band, complete with two drummers. He played soulful and stirring versions of “To Go Home,” “Magic Trick,” “Poison Cup” and “Chinese Translation,” all from his latest album \u003cb>Post-War\u003c/b>, as well as some material from previous albums like “Four Hours in Washington.”\u003c/p>\n\u003cp>Los Angeles’ Sea Wolf turned in the surprise set of the day, taking the stage with a cellist and what sounded like an accordion and cranking out an intriguing set that skipped confidently from gypsy to folk to indie pop.\u003c/p>\n\u003cp>Overall, the festival was surprisingly free of hitches, given that it is in its first year. I have created a festival report card, really only to honor the upstart festival, because I was so encouraged by some of the organizational flourishes that \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> and \u003ca href=\"http://www.anotherplanetent.com/\" target=\"offsite\" rel=\"noopener\">Another Planet\u003c/a> pulled off. So here it is:\u003c/p>\n\u003cp>\u003cb>Location: A-\u003c/b>. Heading back over to the Bay Bridge, festivalgoers asked themselves, “Why am I not always out on Treasure Island?” The views of the Bay Bridge, the Eastern span construction and the city are nothing short of spectacular. Some of this was obscured by the tents, fences and stages that, well, made the festival possible, but the setting was inspiring nonetheless.\u003c/p>\n\u003cp>\u003cb>Music: B\u003c/b>. The lineup for the two-day festival was impressive for the caliber of acts and sheer number of quality bands, but could have used a jolt of energy from some up-and-comers and bands that perhaps haven’t played the Bay Area dozens of times. On Sunday, some acts turned in surprising and memorable sets, particularly Sea Wolf and Trainwreck Riders on the smaller stage and Built to Spill and M. Ward on the larger one. Others struggled with sound problems, sickness and a lack of energy, but overall fans had little about which to complain.\u003c/p>\n\u003cp>\u003cb>Transportation: A+\u003c/b>. This was maybe the most memorable aspect of the festival. The previous week was full of whispers about the parking situation and the shuttles, as well as concerns that there would be gridlock and lines. Who could have imagined how easy, comfortable and breathtaking the ride to the festival would be? We even got to listen to some classic Offspring on the limo bus sound system! And if that wasn’t enough, you could boat over and take a dinghy in to the marina. Now that’s rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cb>Organization: B\u003c/b>. Bands went on like clockwork. You could set your watch by the schedule. The alternating stages limited the number of bands, and may have prevented some of those up-and-comers from making the lineup, but it gave everyone a chance to see every band and there was none of that stage-to-stage interference you might get at Coachella or when there are shows at both Café du Nord and the Swedish-American Hall. That said, the VIP tent and grandstand didn’t seem to have much to offer. The only exit, at least at mid-afternoon, was through a break in the fence by the entrance. I’m not sure what the larger patrons had to do to squeeze through there.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Timing: B+\u003c/b>. What? It’s a sunny and beautiful weekend in early September, one of the nicest weather months in the Bay Area, and there’s no big music festival? There is now. Sure \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is only weeks away, but this did seem like a welcome and much-needed festival for both the time of year and its proximity to the city. No driving or BARTing to Shoreline Ampitheatre for your indie rock or hip-hop.\u003c/p>\n\u003cp>\u003cb>Food: C\u003c/b>. Did I fall asleep in the limo bus for nine months and end up at the Marin County Fair? There was a wide selection of food booths, but it was the usual fairgrounds overpriced fare like kebabs, knishes and gyros. I thought I smelled funnel cake too at one point. Oh, and the Heinekens (or Heineken Lights) were a pricey $7. But the ice cream truck that greeted departing music fans at the end of the night was a big hit.\u003c/p>\n\u003cp>\u003cb>Facilities: B+\u003c/b>. There were plenty of errr… portable toilets situated in a few different locations around the festival. A good amount of seating in front of the stages, though it did get crowded toward the end of the day. Heck, there were even some small trees to the left of the main stage for shade and branch seating.\u003c/p>\n\u003cp>\u003cb>Diversions: C-\u003c/b>. The Ferris Wheel seemed a great way to enjoy the view and look down on the festival crowd. But you had to choose between that and a beer unless you had deep pockets. Seriously, $5 for a carnival-sized rollercoaster? Some festivalgoers browsed through the shopping area, which featured several local clothing stores, pirate shops and… I don’t know how you describe Paxton Gate. A few even made it over to the tents promoting recycling and environmental causes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Overall: B\u003c/b>. A great showing for the first-time festival. We hear a second is in the works for next year. Bring back the limo busses!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>M Ward’s raspy folk went down very well in the festival setting as he brought along a full band, complete with two drummers. He played soulful and stirring versions of “To Go Home,” “Magic Trick,” “Poison Cup” and “Chinese Translation,” all from his latest album \u003cb>Post-War\u003c/b>, as well as some material from previous albums like “Four Hours in Washington.”\u003c/p>\n\u003cp>Los Angeles’ Sea Wolf turned in the surprise set of the day, taking the stage with a cellist and what sounded like an accordion and cranking out an intriguing set that skipped confidently from gypsy to folk to indie pop.\u003c/p>\n\u003cp>Overall, the festival was surprisingly free of hitches, given that it is in its first year. I have created a festival report card, really only to honor the upstart festival, because I was so encouraged by some of the organizational flourishes that \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a> and \u003ca href=\"http://www.anotherplanetent.com/\" target=\"offsite\" rel=\"noopener\">Another Planet\u003c/a> pulled off. So here it is:\u003c/p>\n\u003cp>\u003cb>Location: A-\u003c/b>. Heading back over to the Bay Bridge, festivalgoers asked themselves, “Why am I not always out on Treasure Island?” The views of the Bay Bridge, the Eastern span construction and the city are nothing short of spectacular. Some of this was obscured by the tents, fences and stages that, well, made the festival possible, but the setting was inspiring nonetheless.\u003c/p>\n\u003cp>\u003cb>Music: B\u003c/b>. The lineup for the two-day festival was impressive for the caliber of acts and sheer number of quality bands, but could have used a jolt of energy from some up-and-comers and bands that perhaps haven’t played the Bay Area dozens of times. On Sunday, some acts turned in surprising and memorable sets, particularly Sea Wolf and Trainwreck Riders on the smaller stage and Built to Spill and M. Ward on the larger one. Others struggled with sound problems, sickness and a lack of energy, but overall fans had little about which to complain.\u003c/p>\n\u003cp>\u003cb>Transportation: A+\u003c/b>. This was maybe the most memorable aspect of the festival. The previous week was full of whispers about the parking situation and the shuttles, as well as concerns that there would be gridlock and lines. Who could have imagined how easy, comfortable and breathtaking the ride to the festival would be? We even got to listen to some classic Offspring on the limo bus sound system! And if that wasn’t enough, you could boat over and take a dinghy in to the marina. Now that’s rock ‘n’ roll.\u003c/p>\n\u003cp>\u003cb>Organization: B\u003c/b>. Bands went on like clockwork. You could set your watch by the schedule. The alternating stages limited the number of bands, and may have prevented some of those up-and-comers from making the lineup, but it gave everyone a chance to see every band and there was none of that stage-to-stage interference you might get at Coachella or when there are shows at both Café du Nord and the Swedish-American Hall. That said, the VIP tent and grandstand didn’t seem to have much to offer. The only exit, at least at mid-afternoon, was through a break in the fence by the entrance. I’m not sure what the larger patrons had to do to squeeze through there.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Timing: B+\u003c/b>. What? It’s a sunny and beautiful weekend in early September, one of the nicest weather months in the Bay Area, and there’s no big music festival? There is now. Sure \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is only weeks away, but this did seem like a welcome and much-needed festival for both the time of year and its proximity to the city. No driving or BARTing to Shoreline Ampitheatre for your indie rock or hip-hop.\u003c/p>\n\u003cp>\u003cb>Food: C\u003c/b>. Did I fall asleep in the limo bus for nine months and end up at the Marin County Fair? There was a wide selection of food booths, but it was the usual fairgrounds overpriced fare like kebabs, knishes and gyros. I thought I smelled funnel cake too at one point. Oh, and the Heinekens (or Heineken Lights) were a pricey $7. But the ice cream truck that greeted departing music fans at the end of the night was a big hit.\u003c/p>\n\u003cp>\u003cb>Facilities: B+\u003c/b>. There were plenty of errr… portable toilets situated in a few different locations around the festival. A good amount of seating in front of the stages, though it did get crowded toward the end of the day. Heck, there were even some small trees to the left of the main stage for shade and branch seating.\u003c/p>\n\u003cp>\u003cb>Diversions: C-\u003c/b>. The Ferris Wheel seemed a great way to enjoy the view and look down on the festival crowd. But you had to choose between that and a beer unless you had deep pockets. Seriously, $5 for a carnival-sized rollercoaster? Some festivalgoers browsed through the shopping area, which featured several local clothing stores, pirate shops and… I don’t know how you describe Paxton Gate. A few even made it over to the tents promoting recycling and environmental causes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Overall: B\u003c/b>. A great showing for the first-time festival. We hear a second is in the works for next year. Bring back the limo busses!\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"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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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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},
"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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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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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": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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