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"content": "\u003cp>Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation’. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we’re both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you’re in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd’s attention, then let me be the first moodge to take one in the yarbles.\u003c/p>\n\u003cp>And speaking of rough treatment, the 25-foot RV my companion and I rented and drove in and parked just east of downtown each day was egged by some disgruntled locals, a gang of East Austin street toughs or quite possibly a certain Sixth City punk frontman. But other than that, the RV experience was a good one. It was easy to find parking each day, we had some measure of maneuverability for getting to some of the shows a little south of town and we had what amounted to a roving, sun-splashed studio for writing, editing photos and drinking wine. I would highly recommend it for would-be festivalgoers next year. Sadly the festival was not without its bumps for our contingent, as my companion lost her driver’s license midway through the festivities and had to have her passport overnighted. I’m looking at you for this one too, T.M.I.B.H!\u003c/p>\n\u003cp>Transportation issues aside, though South-by-Southwest was a frantic music-gulping success and an unforgettable spectacle, I share some of Kimberly’s frustration — expressed in her Guardian piece — that some of the bigger-name indie bands (Arcade Fire, New Pornographers, LCD Soundsystem) were nowhere to be found, and that I’m left considering a trip to \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a> to catch them just one month after the biggest music extravaganza on the continent. But I look at South-by-Southwest, along with \u003ca href=\"http://cmj.com/index.html\" target=\"offsite\" rel=\"noopener\">CMJ\u003c/a> and \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a>, as a place to catch some of the up-and-comers before (or at least at the same time as) the music press and bloggers get a hold of them and make it near impossible to get tickets.\u003c/p>\n\u003cp>When the dust settled on the last two days of this year’s festival, there were a few more standouts to add to the list in my first post, \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=14580\" target=\"offsite\" rel=\"noopener\">Crazy RV Music Adventure\u003c/a>, on the 2007 festival.\u003c/p>\n\u003cp>\u003cb>Already blogged to death, so just go see them:\u003c/b>\u003cbr>\u003ca href=\"http://myspace.com/datarock\">Datarock\u003c/a> — Playing \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> March 29, 2006 — TONIGHT!\u003cbr>\u003ca href=\"http://profile.myspace.com/theponys\" target=\"offsite\" rel=\"noopener\">The Ponys\u003c/a> — On a bill with Deerhunter at \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=14921\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> April 13, 2006.\u003cbr>\u003ca href=\"http://profile.myspace.com/annuals\" target=\"offsite\" rel=\"noopener\">Annuals\u003c/a> — Opening for Blonde Redhead at \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s\u003c/a> April 23 and 24, 2006.\u003cbr>\u003ca href=\"http://www.myspace.com/menomena\" target=\"offsite\" rel=\"noopener\">Menomena\u003c/a> — Coming to the \u003ca href=\"http://www.theindependentsf.com/june2007.htm\" target=\"offsite\" rel=\"noopener\">Independent\u003c/a> June 9, 2007.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ripe for the plucking, but not coming to town any time soon:\u003c/b>\u003cbr>\u003ca href=\"http://www.myspace.com/apesandandroids\" target=\"offsite\" rel=\"noopener\">Apes & Androids\u003c/a> — Eminently danceable, Apes & Androids’ spaced-out funk-and-soul sound dovetails nicely with their off-the-wall stage presence — headbands, velour and face paint.\u003c/p>\n\u003cp>\u003ca href=\"http://www.arielpink.com/\" target=\"offsite\" rel=\"noopener\">Ariel Pink\u003c/a> — Definitely the most random and oddest act I witnessed at South-by-Southwest, which is saying a lot. A quick look at his influences on myspace is not possible, it requires quite a bit of scrolling. I heard Jackson Five at one point in Austin and Bauhaus soon after. What does petulant singer Ariel Rosenberg want to sound like next? I’m happy to stick around and find out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.themintchicks.com/\" target=\"offsite\" rel=\"noopener\">The Mint Chicks\u003c/a> — Remember that lame-ass Cars reunion a few years ago with Todd Rundgren? Hopefully you skipped that. Now go see The Mint Chicks instead. It’s cheaper and they’ve got loads of that good ol’ youthful energy.\u003c/p>\n\u003cp>Alela Diane – With soulful vocal chops akin to Gillian Welch or Emmylou Harris, and forthright and confident lyricism, Nevada City-born Alela Diane’s ongoing ascent simply cannot be doubted or stopped.\u003c/p>\n\u003cp>\u003ca href=\"http://profile.myspace.com/micahphinson\" target=\"offsite\" rel=\"noopener\">Micah P. Hinson\u003c/a> — For a spur-of-the-moment, stripped-down set, Abilene singer-songwriter Micah P. Hinson, with his full-bodied vocal, delivered a moving and sonically eloquent stunner of a performance, far more than just warming up the crowd for Daniel Johnston.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/odeath\" target=\"offsite\" rel=\"noopener\">O’Death\u003c/a> — Imagine if you will that Captain Beefheart broke into a pawn shop in Appalachia and made off with all the musical instruments. I doubt there are many music fans that couldn’t get behind this boisterous blend of punk, country, bluegrass and eccentricity.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/healthmusic\" target=\"offsite\" rel=\"noopener\">HEALTH\u003c/a> — A soul-shaking sonic clamor with the random deviations of free jazz and the succinctness of the Minutemen.\u003c/p>\n\u003cp>\u003ca href=\"http://www.twotonboa.com/\" target=\"offsite\" rel=\"noopener\">Two-Ton Boa\u003c/a> — If metal was more literate, more twistedly bipolar, and built around dynamic, haunting and evocative vocals instead of hiding behind guitar-hero posturing, it’s name would be Sherry Fraser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/marieesioux\" target=\"offsite\" rel=\"noopener\">Mariee Sioux\u003c/a> — Part of the Grass Roots Records family, along with Alela Diane, Mariee Sioux picks out beautiful, smart folk ditties and delivers them like fellow Nevada City resident Joanna Newsom taken down a notch. What is in the water in that town?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, after four long days in Austin, there are about 35-40 bands that I won’t have to clamor to see whenever they decide to embark on a West Coast tour. Alas, I’ll still be looking to the desert in late April and considering getting in line with the sweat-ringed throng out in Indio yet another year.\u003c/p>\n\n",
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"excerpt": "Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation'. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we're both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you're in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd's attention, then let me be the first moodge to take one in the yarbles.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation’. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we’re both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you’re in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd’s attention, then let me be the first moodge to take one in the yarbles.\u003c/p>\n\u003cp>And speaking of rough treatment, the 25-foot RV my companion and I rented and drove in and parked just east of downtown each day was egged by some disgruntled locals, a gang of East Austin street toughs or quite possibly a certain Sixth City punk frontman. But other than that, the RV experience was a good one. It was easy to find parking each day, we had some measure of maneuverability for getting to some of the shows a little south of town and we had what amounted to a roving, sun-splashed studio for writing, editing photos and drinking wine. I would highly recommend it for would-be festivalgoers next year. Sadly the festival was not without its bumps for our contingent, as my companion lost her driver’s license midway through the festivities and had to have her passport overnighted. I’m looking at you for this one too, T.M.I.B.H!\u003c/p>\n\u003cp>Transportation issues aside, though South-by-Southwest was a frantic music-gulping success and an unforgettable spectacle, I share some of Kimberly’s frustration — expressed in her Guardian piece — that some of the bigger-name indie bands (Arcade Fire, New Pornographers, LCD Soundsystem) were nowhere to be found, and that I’m left considering a trip to \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a> to catch them just one month after the biggest music extravaganza on the continent. But I look at South-by-Southwest, along with \u003ca href=\"http://cmj.com/index.html\" target=\"offsite\" rel=\"noopener\">CMJ\u003c/a> and \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a>, as a place to catch some of the up-and-comers before (or at least at the same time as) the music press and bloggers get a hold of them and make it near impossible to get tickets.\u003c/p>\n\u003cp>When the dust settled on the last two days of this year’s festival, there were a few more standouts to add to the list in my first post, \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=14580\" target=\"offsite\" rel=\"noopener\">Crazy RV Music Adventure\u003c/a>, on the 2007 festival.\u003c/p>\n\u003cp>\u003cb>Already blogged to death, so just go see them:\u003c/b>\u003cbr>\u003ca href=\"http://myspace.com/datarock\">Datarock\u003c/a> — Playing \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> March 29, 2006 — TONIGHT!\u003cbr>\u003ca href=\"http://profile.myspace.com/theponys\" target=\"offsite\" rel=\"noopener\">The Ponys\u003c/a> — On a bill with Deerhunter at \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=14921\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> April 13, 2006.\u003cbr>\u003ca href=\"http://profile.myspace.com/annuals\" target=\"offsite\" rel=\"noopener\">Annuals\u003c/a> — Opening for Blonde Redhead at \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s\u003c/a> April 23 and 24, 2006.\u003cbr>\u003ca href=\"http://www.myspace.com/menomena\" target=\"offsite\" rel=\"noopener\">Menomena\u003c/a> — Coming to the \u003ca href=\"http://www.theindependentsf.com/june2007.htm\" target=\"offsite\" rel=\"noopener\">Independent\u003c/a> June 9, 2007.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Ripe for the plucking, but not coming to town any time soon:\u003c/b>\u003cbr>\u003ca href=\"http://www.myspace.com/apesandandroids\" target=\"offsite\" rel=\"noopener\">Apes & Androids\u003c/a> — Eminently danceable, Apes & Androids’ spaced-out funk-and-soul sound dovetails nicely with their off-the-wall stage presence — headbands, velour and face paint.\u003c/p>\n\u003cp>\u003ca href=\"http://www.arielpink.com/\" target=\"offsite\" rel=\"noopener\">Ariel Pink\u003c/a> — Definitely the most random and oddest act I witnessed at South-by-Southwest, which is saying a lot. A quick look at his influences on myspace is not possible, it requires quite a bit of scrolling. I heard Jackson Five at one point in Austin and Bauhaus soon after. What does petulant singer Ariel Rosenberg want to sound like next? I’m happy to stick around and find out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.themintchicks.com/\" target=\"offsite\" rel=\"noopener\">The Mint Chicks\u003c/a> — Remember that lame-ass Cars reunion a few years ago with Todd Rundgren? Hopefully you skipped that. Now go see The Mint Chicks instead. It’s cheaper and they’ve got loads of that good ol’ youthful energy.\u003c/p>\n\u003cp>Alela Diane – With soulful vocal chops akin to Gillian Welch or Emmylou Harris, and forthright and confident lyricism, Nevada City-born Alela Diane’s ongoing ascent simply cannot be doubted or stopped.\u003c/p>\n\u003cp>\u003ca href=\"http://profile.myspace.com/micahphinson\" target=\"offsite\" rel=\"noopener\">Micah P. Hinson\u003c/a> — For a spur-of-the-moment, stripped-down set, Abilene singer-songwriter Micah P. Hinson, with his full-bodied vocal, delivered a moving and sonically eloquent stunner of a performance, far more than just warming up the crowd for Daniel Johnston.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/odeath\" target=\"offsite\" rel=\"noopener\">O’Death\u003c/a> — Imagine if you will that Captain Beefheart broke into a pawn shop in Appalachia and made off with all the musical instruments. I doubt there are many music fans that couldn’t get behind this boisterous blend of punk, country, bluegrass and eccentricity.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/healthmusic\" target=\"offsite\" rel=\"noopener\">HEALTH\u003c/a> — A soul-shaking sonic clamor with the random deviations of free jazz and the succinctness of the Minutemen.\u003c/p>\n\u003cp>\u003ca href=\"http://www.twotonboa.com/\" target=\"offsite\" rel=\"noopener\">Two-Ton Boa\u003c/a> — If metal was more literate, more twistedly bipolar, and built around dynamic, haunting and evocative vocals instead of hiding behind guitar-hero posturing, it’s name would be Sherry Fraser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/marieesioux\" target=\"offsite\" rel=\"noopener\">Mariee Sioux\u003c/a> — Part of the Grass Roots Records family, along with Alela Diane, Mariee Sioux picks out beautiful, smart folk ditties and delivers them like fellow Nevada City resident Joanna Newsom taken down a notch. What is in the water in that town?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, after four long days in Austin, there are about 35-40 bands that I won’t have to clamor to see whenever they decide to embark on a West Coast tour. Alas, I’ll still be looking to the desert in late April and considering getting in line with the sweat-ringed throng out in Indio yet another year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SXSW Music Festival: Austin, TX\u003cbr>The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can’t walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks.\u003c/p>\n\u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples’ ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne’s “Running on Empty.”\u003c/p>\n\u003cp>There are shows in tiny indie record stores, barbershops, art galleries, restaurants, back porches, yards, museums, radio stations, coffeehouses, even at the Urban Outfitters. Walking down Sixth Street, Austin’s tourist mecca and the home to most of its bars and clubs, the sounds of the bands blend together so as to be indistinguishable. San Francisco seems to be fairly well represented judging from some of the familiar faces I’ve seen, fixtures in the Bay Area music scene.\u003c/p>\n\u003cp>You learn some quick lessons at festivals like this. The venues are almost always behind schedule, guest lists usually go unheeded, supporting bands seem to have a curious and irksome habit of not introducing themselves to audiences who rarely know the name of every act. Emo’s always has a line. Many of the day shows offer free drinks — usually keg beer — but one might also spot music fans drinking Rob Roys in Birds Barbershop while watching their friends get free mohawks.\u003c/p>\n\u003cp>The food options are myriad. So far, the standouts were a greasy and flavorful taco-truck crawl on South First St., incredible battered french fries and chicken and waffles at Tony’s Southern Comfort Restaurant and extremely well-cooked brisket and a euphoric banana pudding at Ben’s Longbranch BBQ (which also hosts bands down the hill from its porch on a cement patio).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But not everything is wine and roses, I endured weeks of planning and scheduling to make sure I could see the bands I want, and for the most part it helps, but not everything goes off as planned. The first afternoon, I manage to park our rented RV in what turns out to be a dingy, if centrally-located RV park and then get a ride back into town with the guy who is selling me a wristband. An early jaunt to the southern part of town results in Fort Worth’s Nouns Group having cancelled at the last minute. My RV-mate loses her ID and we can’t get into buzz-band Menomena’s show at Buffalo Billiards at 1am on Thursday.\u003c/p>\n\u003cp>That brings us to the music. So far, I’ve made it to Big A Little A, Architecture in Helsinki, No Age, The Gray Kid, Malajube, Daniel Johnston, Charlie Louvin, Micah P. Hinson, The Black Angels, Benjy Ferree, Diplo, Datarock, Foreign Islands, Macromantics, Bone Box, Paris Motel, La Castle Vania, Yo Majesty, Apostle of Hustle, Lo-Fi Fnk, This Moment in Black History and Okkervil River, as well as a few others.\u003c/p>\n\u003cp>This is the rundown of the highlights up ’til now:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://www.myspace.com/alittlea\" target=\"offsite\" rel=\"noopener\">Aa (Big A Little A)\u003c/a> — How can you not expect the best from a band that carries three drummers. But these guys meld the extremely old (ancient) and the new remarkably well, creating a spacey tribal sound that hits you on a visceral and primordial level.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/danieldalejohnston\" target=\"offsite\" rel=\"noopener\">Daniel Johnston\u003c/a> — The former Austinite and soul-on-his-sleeve warbler delivers a loving cover of the Beatles’ “Come Together” immediately following his own ode to the Fab Four “The Beatles.” But just as moving are incredible a cappella versions of “Devil Town” and “Speeding Motorcycle.”\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Louvin_Brothers\" target=\"offsite\" rel=\"noopener\">Charlie Louvin\u003c/a> — I couldn’t stay for all of the country legend’s set, but I did manage to catch a rollicking version of the Louvin Brothers’ hit “Cash on the Barrelhead.” Some of his newer stuff feels more like a Vegas show covering country music, but when he performs the standards, you can still feel the genius that made The Louvin Brothers one of Nashville’s greatest hit-making acts.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/aihmusic\" target=\"offsite\" rel=\"noopener\">Architecture in Helsinki\u003c/a> — Flamingo Cantina on Sixth Street is one of my favorite venues in Austin. They book good music, they have a great patio behind and above the stage where you have a good (and less crowded) vantage point. Australia’s Architecture in Helsinki got the kids jumping with their instrument-swapping, conga-tinged, hook-laden indie rock. \u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/benjyferree\" target=\"offsite\" rel=\"noopener\">Benjy Ferree\u003c/a> — A singular songwriter with a dynamic voice and unique phrasing, Ferree trades in smart ballads accompanied by a cello and guitar, and bears the trademark songwriter’s harmonica around his neck.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/nonoage\" target=\"offsite\" rel=\"noopener\">No Age\u003c/a> — The Los Angeles duo sound even better live than they do on their recorded material. They are comfortable and funny on the back patio of Miss Bea’s, a small Eastside neighborhood watering hole during one of Brooklyn promoting icon Todd P.’s shows.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/thismomentinblackhistory\" target=\"offsite\" rel=\"noopener\">This Moment in Black History\u003c/a> — Their brand of all-out hardcore punk gets the crowd involved whether they like it or not. The singer ended up in my lap at one point…serves me right for sitting down at a punk show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/yomajesty4life\" target=\"offsite\" rel=\"noopener\">Yo Majesty\u003c/a> — This hip-hop trio from the Tampa Bay area really brings the noise. You could hear their blistering, hard-nosed old-school and Dirty South-influenced rap down the street. It’s impossible not to get behind their energy and the dollar-store bejeweled crown.\u003c/p>\n\n",
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"excerpt": "SXSW Music Festival: Austin, TX\u003cbr />The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can't walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks. \u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples' ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne's \"Running on Empty.\"\u003c/p> ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SXSW Music Festival: Austin, TX\u003cbr>The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can’t walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks.\u003c/p>\n\u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples’ ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne’s “Running on Empty.”\u003c/p>\n\u003cp>There are shows in tiny indie record stores, barbershops, art galleries, restaurants, back porches, yards, museums, radio stations, coffeehouses, even at the Urban Outfitters. Walking down Sixth Street, Austin’s tourist mecca and the home to most of its bars and clubs, the sounds of the bands blend together so as to be indistinguishable. San Francisco seems to be fairly well represented judging from some of the familiar faces I’ve seen, fixtures in the Bay Area music scene.\u003c/p>\n\u003cp>You learn some quick lessons at festivals like this. The venues are almost always behind schedule, guest lists usually go unheeded, supporting bands seem to have a curious and irksome habit of not introducing themselves to audiences who rarely know the name of every act. Emo’s always has a line. Many of the day shows offer free drinks — usually keg beer — but one might also spot music fans drinking Rob Roys in Birds Barbershop while watching their friends get free mohawks.\u003c/p>\n\u003cp>The food options are myriad. So far, the standouts were a greasy and flavorful taco-truck crawl on South First St., incredible battered french fries and chicken and waffles at Tony’s Southern Comfort Restaurant and extremely well-cooked brisket and a euphoric banana pudding at Ben’s Longbranch BBQ (which also hosts bands down the hill from its porch on a cement patio).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not everything is wine and roses, I endured weeks of planning and scheduling to make sure I could see the bands I want, and for the most part it helps, but not everything goes off as planned. The first afternoon, I manage to park our rented RV in what turns out to be a dingy, if centrally-located RV park and then get a ride back into town with the guy who is selling me a wristband. An early jaunt to the southern part of town results in Fort Worth’s Nouns Group having cancelled at the last minute. My RV-mate loses her ID and we can’t get into buzz-band Menomena’s show at Buffalo Billiards at 1am on Thursday.\u003c/p>\n\u003cp>That brings us to the music. So far, I’ve made it to Big A Little A, Architecture in Helsinki, No Age, The Gray Kid, Malajube, Daniel Johnston, Charlie Louvin, Micah P. Hinson, The Black Angels, Benjy Ferree, Diplo, Datarock, Foreign Islands, Macromantics, Bone Box, Paris Motel, La Castle Vania, Yo Majesty, Apostle of Hustle, Lo-Fi Fnk, This Moment in Black History and Okkervil River, as well as a few others.\u003c/p>\n\u003cp>This is the rundown of the highlights up ’til now:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://www.myspace.com/alittlea\" target=\"offsite\" rel=\"noopener\">Aa (Big A Little A)\u003c/a> — How can you not expect the best from a band that carries three drummers. But these guys meld the extremely old (ancient) and the new remarkably well, creating a spacey tribal sound that hits you on a visceral and primordial level.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/danieldalejohnston\" target=\"offsite\" rel=\"noopener\">Daniel Johnston\u003c/a> — The former Austinite and soul-on-his-sleeve warbler delivers a loving cover of the Beatles’ “Come Together” immediately following his own ode to the Fab Four “The Beatles.” But just as moving are incredible a cappella versions of “Devil Town” and “Speeding Motorcycle.”\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Louvin_Brothers\" target=\"offsite\" rel=\"noopener\">Charlie Louvin\u003c/a> — I couldn’t stay for all of the country legend’s set, but I did manage to catch a rollicking version of the Louvin Brothers’ hit “Cash on the Barrelhead.” Some of his newer stuff feels more like a Vegas show covering country music, but when he performs the standards, you can still feel the genius that made The Louvin Brothers one of Nashville’s greatest hit-making acts.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/aihmusic\" target=\"offsite\" rel=\"noopener\">Architecture in Helsinki\u003c/a> — Flamingo Cantina on Sixth Street is one of my favorite venues in Austin. They book good music, they have a great patio behind and above the stage where you have a good (and less crowded) vantage point. Australia’s Architecture in Helsinki got the kids jumping with their instrument-swapping, conga-tinged, hook-laden indie rock. \u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/benjyferree\" target=\"offsite\" rel=\"noopener\">Benjy Ferree\u003c/a> — A singular songwriter with a dynamic voice and unique phrasing, Ferree trades in smart ballads accompanied by a cello and guitar, and bears the trademark songwriter’s harmonica around his neck.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/nonoage\" target=\"offsite\" rel=\"noopener\">No Age\u003c/a> — The Los Angeles duo sound even better live than they do on their recorded material. They are comfortable and funny on the back patio of Miss Bea’s, a small Eastside neighborhood watering hole during one of Brooklyn promoting icon Todd P.’s shows.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/thismomentinblackhistory\" target=\"offsite\" rel=\"noopener\">This Moment in Black History\u003c/a> — Their brand of all-out hardcore punk gets the crowd involved whether they like it or not. The singer ended up in my lap at one point…serves me right for sitting down at a punk show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/yomajesty4life\" target=\"offsite\" rel=\"noopener\">Yo Majesty\u003c/a> — This hip-hop trio from the Tampa Bay area really brings the noise. You could hear their blistering, hard-nosed old-school and Dirty South-influenced rap down the street. It’s impossible not to get behind their energy and the dollar-store bejeweled crown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year, avid local show goers eagerly look forward to seeing what Noise Pop, the annual SF music festival celebrating the best in indie music, will offer. They know to expect a wide-ranging well-picked and inclusive lineup of many local favorites, and with each year that passes, much much more. This year’s 15th anniversary festival not only provided a comprehensive lineup of music acts, but also featured art exhibits, film and comedy as well. \u003c/p>\n\u003cp>And as Noise Pop’s festival grows, so does its calendar. Chris Appelgren joined the staff last year when the event went from a two-person operation putting on a six-day event to organizing and sponsoring events throughout the year with a full, year-round staff. He met with me at the Noise Pop offices in the Mission on Tuesday shortly before \u003ca href=\"http://www.noisepop.com/freedm\" target=\"offsite\" rel=\"noopener\">Freedm Night\u003c/a> kicked off the festival. I was a little let down to discover that the office was not the frenzied mess of nerves and shouting I was expecting, but a constant stream of phone calls and inter-office questions did provide an appropriately industrious aural backdrop for our conversation. Chris described how \u003cb>Noise Pop\u003c/b> has shifted its focus in recent years to accommodate changes in the music scene.\u003c/p>\n\u003cp>“As we’ve gotten bigger, our mission shifted to not only celebrating what’s great about the city, but also teaming it up with great national artists in a way that’s more intimate. We want the shows to feel carefully created and considered.”\u003c/p>\n\u003cp>This year, I scanned the roster of over 110 bands playing over 30 shows, and felt pretty overwhelmed, but was excited to find \u003ca href=\"http://www.hellaband.com\" target=\"offsite\" rel=\"noopener\">Hella\u003c/a> headlining a\u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> show. I’d been introduced to \u003cb>Hella\u003c/b>, a math rock outfit from Sacramento with a steadily growing fan base around the country, a couple of years ago, but had never had the chance see them live before. The show was entirely packed, with the body heat inside beating the frigid chill creeping in from the outside and confirming the show’s sold out success.\u003c/p>\n\u003cp>Like many other fans who came out expressly to see Hella, I knew next to nothing about the other bands that would be playing that night, which made it all the more of a special noisy treat to discover three killer acts — each absolutely nothing like the previous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area-based \u003ca href=\"http://www.tartufirock.net\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> started off the show with a thirty minute set of fascinating live loop-based songs, which combined layers upon layers of vocals and reverb with alternating slow intense passages and hard/fast rock drumming. With a four-year history as a three-piece group rather than the two-piece that played, some fans didn’t know what to expect, but they were pleased with the results. I got a chance to corner Lynn Angel, who provides guitar, vocals and live looping for the band, just as she had gotten her parents (who are evidently very good sports) into a cab after the set. She confirmed that Tartufi would be remaining a two-piece for now. Many Noise Pop openers move up through the ranks to become headliners, so expect to see more of Tartufi in the future, as part of Noise Pop or just around town.\u003c/p>\n\u003cp>\u003ca href=\"http://www.macromantics.com\" target=\"offsite\" rel=\"noopener\">Macromantics\u003c/a> from Australia kept things going with a dark yet goofy hip hop set that conformed to many of the conventions of hip hop without sounding like any particular act I’d heard before. There was the command to get your hands in the air as well as the song written only to spell out M-A-C-R-O-M-A-N-T-I-C-S. But there was also gritty beats mixed with references to Ella Fitzgerald and James Brown and a refrain from the nursery rhyme “Baa Baa Black Sheep.” While fans were enthusiastic about the set, Macromantics convinced me about her potential by working the merchandise table after performing. For a rising artist on her way to South by Southwest, she was willing to put in the time and the effort to win over every fan she could.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=125\" target=\"offsite\" rel=\"noopener\">Pop Levi\u003c/a> turned it out for a genre-bending set of classic rock with elements of glam, funk and pretty much everything else thrown in. Hailing from Los Angeles, Liverpool and lately, his van, Pop is clearly destined for hipster stardom, with appropriately obscure listening tastes (wax cylinder recordings from the Bahamas) and a pedigree to match. He boasts a long-standing gig with electroclashers \u003ca href=\"http://www.ladytron.com\" target=\"offsite\" rel=\"noopener\">Ladytron\u003c/a>, and before that, time on \u003ca href=\"http://www.ninjatune.net\" target=\"offsite\" rel=\"noopener\">NinjaTune Records\u003c/a> with his band \u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=94\" target=\"offsite\" rel=\"noopener\">Super Numeri\u003c/a>. Despite a distinctly retro edge to his sound, the music is far from derivative. And Pop isn’t interested in being a throwback. While his music draws on an extremely wide variety of influences, he mentioned just two artists he particularly admires — Bob Dylan and Sun Ra — neither immediately evident in his sound. Another artist fitting in a Noise Pop gig before landing at South by Southwest, Pop is currently in the middle of a punishingly lengthy tour. Be on the lookout for him to come through SF again soon.\u003c/p>\n\u003cp>Hella is probably best known for the genius drumming of Zach Hill, who has also been part of other excellent Northern California acts including \u003ca href=\"http://www.crimeinchoir.net\" target=\"offsite\" rel=\"noopener\">Crime in Choir\u003c/a>, who played an epic, sweaty show at the \u003ca href=\"http://www.hemlocktavern.net\" target=\"offsite\" rel=\"noopener\">Hemlock\u003c/a> just last week. His drumming, while it confounds the average show goer by making it nearly impossible to dance — much less bob your head to — for longer than a three-second spurt, inspires the truly dedicated fan to new heights in rhythm. This is where I would normally place my choicely worded description of Hella’s sound — but I really can’t top the Wikipedia entry, which describes it as a “technical, Nintendo-influenced blend of math rock, noise rock and avant-garde.”\u003c/p>\n\u003cp>The show last Wednesday (Feb 28, 2007) featured this sound front and center, but added a new element — a full complement of vocals on every song. I’d heard snippets from the recently-released full-length album, \u003cb>There’s No 666 in Outer Space\u003c/b>, before heading out to the show, and was struck by how the addition of vocals made for a dramatic, wailing rock sound approaching the \u003ca href=\"http://www.themarsvolta.com\" target=\"offsite\" rel=\"noopener\">Mars Volta\u003c/a>. But in person, the vocals were even more raw and echoey.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Without a doubt, as \u003cb>Noise Pop\u003c/b> continues to grow, you can expect some very exciting treats throughout the year. For more on this year’s \u003ca href=\"http://www.noisepop.com\" target=\"offsite\" rel=\"noopener\">festival and future events\u003c/a>, visit noisepop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, avid local show goers eagerly look forward to seeing what Noise Pop, the annual SF music festival celebrating the best in indie music, will offer. They know to expect a wide-ranging well-picked and inclusive lineup of many local favorites, and with each year that passes, much much more. This year’s 15th anniversary festival not only provided a comprehensive lineup of music acts, but also featured art exhibits, film and comedy as well. \u003c/p>\n\u003cp>And as Noise Pop’s festival grows, so does its calendar. Chris Appelgren joined the staff last year when the event went from a two-person operation putting on a six-day event to organizing and sponsoring events throughout the year with a full, year-round staff. He met with me at the Noise Pop offices in the Mission on Tuesday shortly before \u003ca href=\"http://www.noisepop.com/freedm\" target=\"offsite\" rel=\"noopener\">Freedm Night\u003c/a> kicked off the festival. I was a little let down to discover that the office was not the frenzied mess of nerves and shouting I was expecting, but a constant stream of phone calls and inter-office questions did provide an appropriately industrious aural backdrop for our conversation. Chris described how \u003cb>Noise Pop\u003c/b> has shifted its focus in recent years to accommodate changes in the music scene.\u003c/p>\n\u003cp>“As we’ve gotten bigger, our mission shifted to not only celebrating what’s great about the city, but also teaming it up with great national artists in a way that’s more intimate. We want the shows to feel carefully created and considered.”\u003c/p>\n\u003cp>This year, I scanned the roster of over 110 bands playing over 30 shows, and felt pretty overwhelmed, but was excited to find \u003ca href=\"http://www.hellaband.com\" target=\"offsite\" rel=\"noopener\">Hella\u003c/a> headlining a\u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> show. I’d been introduced to \u003cb>Hella\u003c/b>, a math rock outfit from Sacramento with a steadily growing fan base around the country, a couple of years ago, but had never had the chance see them live before. The show was entirely packed, with the body heat inside beating the frigid chill creeping in from the outside and confirming the show’s sold out success.\u003c/p>\n\u003cp>Like many other fans who came out expressly to see Hella, I knew next to nothing about the other bands that would be playing that night, which made it all the more of a special noisy treat to discover three killer acts — each absolutely nothing like the previous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area-based \u003ca href=\"http://www.tartufirock.net\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> started off the show with a thirty minute set of fascinating live loop-based songs, which combined layers upon layers of vocals and reverb with alternating slow intense passages and hard/fast rock drumming. With a four-year history as a three-piece group rather than the two-piece that played, some fans didn’t know what to expect, but they were pleased with the results. I got a chance to corner Lynn Angel, who provides guitar, vocals and live looping for the band, just as she had gotten her parents (who are evidently very good sports) into a cab after the set. She confirmed that Tartufi would be remaining a two-piece for now. Many Noise Pop openers move up through the ranks to become headliners, so expect to see more of Tartufi in the future, as part of Noise Pop or just around town.\u003c/p>\n\u003cp>\u003ca href=\"http://www.macromantics.com\" target=\"offsite\" rel=\"noopener\">Macromantics\u003c/a> from Australia kept things going with a dark yet goofy hip hop set that conformed to many of the conventions of hip hop without sounding like any particular act I’d heard before. There was the command to get your hands in the air as well as the song written only to spell out M-A-C-R-O-M-A-N-T-I-C-S. But there was also gritty beats mixed with references to Ella Fitzgerald and James Brown and a refrain from the nursery rhyme “Baa Baa Black Sheep.” While fans were enthusiastic about the set, Macromantics convinced me about her potential by working the merchandise table after performing. For a rising artist on her way to South by Southwest, she was willing to put in the time and the effort to win over every fan she could.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=125\" target=\"offsite\" rel=\"noopener\">Pop Levi\u003c/a> turned it out for a genre-bending set of classic rock with elements of glam, funk and pretty much everything else thrown in. Hailing from Los Angeles, Liverpool and lately, his van, Pop is clearly destined for hipster stardom, with appropriately obscure listening tastes (wax cylinder recordings from the Bahamas) and a pedigree to match. He boasts a long-standing gig with electroclashers \u003ca href=\"http://www.ladytron.com\" target=\"offsite\" rel=\"noopener\">Ladytron\u003c/a>, and before that, time on \u003ca href=\"http://www.ninjatune.net\" target=\"offsite\" rel=\"noopener\">NinjaTune Records\u003c/a> with his band \u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=94\" target=\"offsite\" rel=\"noopener\">Super Numeri\u003c/a>. Despite a distinctly retro edge to his sound, the music is far from derivative. And Pop isn’t interested in being a throwback. While his music draws on an extremely wide variety of influences, he mentioned just two artists he particularly admires — Bob Dylan and Sun Ra — neither immediately evident in his sound. Another artist fitting in a Noise Pop gig before landing at South by Southwest, Pop is currently in the middle of a punishingly lengthy tour. Be on the lookout for him to come through SF again soon.\u003c/p>\n\u003cp>Hella is probably best known for the genius drumming of Zach Hill, who has also been part of other excellent Northern California acts including \u003ca href=\"http://www.crimeinchoir.net\" target=\"offsite\" rel=\"noopener\">Crime in Choir\u003c/a>, who played an epic, sweaty show at the \u003ca href=\"http://www.hemlocktavern.net\" target=\"offsite\" rel=\"noopener\">Hemlock\u003c/a> just last week. His drumming, while it confounds the average show goer by making it nearly impossible to dance — much less bob your head to — for longer than a three-second spurt, inspires the truly dedicated fan to new heights in rhythm. This is where I would normally place my choicely worded description of Hella’s sound — but I really can’t top the Wikipedia entry, which describes it as a “technical, Nintendo-influenced blend of math rock, noise rock and avant-garde.”\u003c/p>\n\u003cp>The show last Wednesday (Feb 28, 2007) featured this sound front and center, but added a new element — a full complement of vocals on every song. I’d heard snippets from the recently-released full-length album, \u003cb>There’s No 666 in Outer Space\u003c/b>, before heading out to the show, and was struck by how the addition of vocals made for a dramatic, wailing rock sound approaching the \u003ca href=\"http://www.themarsvolta.com\" target=\"offsite\" rel=\"noopener\">Mars Volta\u003c/a>. But in person, the vocals were even more raw and echoey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without a doubt, as \u003cb>Noise Pop\u003c/b> continues to grow, you can expect some very exciting treats throughout the year. For more on this year’s \u003ca href=\"http://www.noisepop.com\" target=\"offsite\" rel=\"noopener\">festival and future events\u003c/a>, visit noisepop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Noise Pop: The Gray Kid",
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"content": "\u003cp>Noise Pop has come and gone again, and this year, the fifteenth installment of the Bay Area’s preeminent music festival, had some real solid lineups if no eye-popping, big-ticket event like last year’s visit from the Flaming Lips. The triumphant Bay Area return of 13th Floor Elevators frontman Roky Erickson, the Sebadoh reunion, The Dandy Warhols and Cake notwithstanding, this year’s fest was all about bands and artists just beginning to stretch out and explore their newfound acclaim. Bands like Tapes ‘n Tapes, who played the opening night party, as well as Ted Leo & The Pharmacists, Midlake, The Ponys, Ghostland Observatory and Clinic.\u003c/p>\n\u003cp>But like every year, there are some lesser-known names a little further down the marquee that when you discover them, make the festival all the more rewarding. I wanted to catch some of these acts, diligently identified before the festival began, like Montreal’s latest indie-pop darling Malajube and local psychedelic rockers Wooden Shjips, but ended up getting blindsided instead by the fantastic sets of Afro-Cuban groove merchants Ray Barbee & The Mattson Two and a Los Angeles hip-hop artist dubbed \u003ca href=\"http://www.myspace.com/thegraykid\" target=\"offsite\" rel=\"noopener\">The Gray Kid\u003c/a>.\u003c/p>\n\u003cp>O.K., maybe you already knew about The Gray Kid. You knew about him back in ’06 when his crack-up Justin Timberlake parody “PaxilBack” was a \u003ca href=\"http://www.youtube.com/watch?v=sGKJcayVXU8\" target=\"offsite\" rel=\"noopener\">YouTube\u003c/a> hit. Or maybe you’re an avid watcher of \u003cb>30 Rock\u003c/b> and you were groovin’ to his soul-flecked, quick-witted hip-hop as early as last Thursday at 10 p.m. Or just possibly, you’re like most of the crowd waiting for Ghostland Observatory to take the stage on Saturday night who were hearing the Los Angeles-based MC for the first time. I won’t reveal where I fall on that timeline, but suffice it to say that I wasn’t completely sure what to expect from his live show.\u003c/p>\n\u003cp>Just minutes after taking the stage, The Gray Kid, aka Steve Cooper, had already won the crowd over through sheer will, careening around the stage, coiling up tightly with potential energy and delivering his lyrics with a manic fervor, practically hurling the rhymes from his head out at the audience via his hand gestures. He obsessively preens, smoothing out his hair across his forehead, and demands the audience’s attention like a seasoned showman with a righteous belief in his talents.\u003c/p>\n\u003cp>All the while, he spits out rapid-fire, adroitly-phrased lyrics sometimes reminiscent of Eminem, interspersed with soul grooves and an R&B falsetto, delivered over hip-hop and dance beats. The influence of Dirty South rap is heard, especially on the rollicking “Oh My,” as are the genre-bending explorations of Outkast. His lyrics have the smart-alecky feel of the Beastie Boys and his falsetto might remind one of Prince. If you’re noticing that a lot of big-name, popular acts are being mentioned, that’s because The Gray Kid is, at his core, a pop artist. His onstage demeanor is primarily a means of connecting with his audience. He ingratiates himself with the crowd through witty and irreverent lyrics about L.A.’s silicon-and-botox-addicted Barbie dolls, and draws them still closer by asking that they repeat the final line to his hook-laden driving song “Eh Man” along with him, “I eat with my hands. I drive with my knees.” By the end of his set, it’s obvious that he’s gained hundreds of new fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you didn’t know The Gray Kid before now, you certainly will before too long. He’ll make sure of that.\u003c/p>\n\n",
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"excerpt": "Noise Pop has come and gone again, and this year, the fifteenth installment of the Bay Area's preeminent music festival, had some real solid lineups if no eye-popping, big-ticket event like last year's visit from the Flaming Lips. The triumphant Bay Area return of 13th Floor Elevators frontman Roky Erickson, the Sebadoh reunion, The Dandy Warhols and Cake notwithstanding, this year's fest was all about bands and artists just beginning to stretch out and explore their newfound acclaim. Bands like Tapes 'n Tapes, who played the opening night party, as well as Ted Leo & The Pharmacists, Midlake, The Ponys, Ghostland Observatory and Clinic.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noise Pop has come and gone again, and this year, the fifteenth installment of the Bay Area’s preeminent music festival, had some real solid lineups if no eye-popping, big-ticket event like last year’s visit from the Flaming Lips. The triumphant Bay Area return of 13th Floor Elevators frontman Roky Erickson, the Sebadoh reunion, The Dandy Warhols and Cake notwithstanding, this year’s fest was all about bands and artists just beginning to stretch out and explore their newfound acclaim. Bands like Tapes ‘n Tapes, who played the opening night party, as well as Ted Leo & The Pharmacists, Midlake, The Ponys, Ghostland Observatory and Clinic.\u003c/p>\n\u003cp>But like every year, there are some lesser-known names a little further down the marquee that when you discover them, make the festival all the more rewarding. I wanted to catch some of these acts, diligently identified before the festival began, like Montreal’s latest indie-pop darling Malajube and local psychedelic rockers Wooden Shjips, but ended up getting blindsided instead by the fantastic sets of Afro-Cuban groove merchants Ray Barbee & The Mattson Two and a Los Angeles hip-hop artist dubbed \u003ca href=\"http://www.myspace.com/thegraykid\" target=\"offsite\" rel=\"noopener\">The Gray Kid\u003c/a>.\u003c/p>\n\u003cp>O.K., maybe you already knew about The Gray Kid. You knew about him back in ’06 when his crack-up Justin Timberlake parody “PaxilBack” was a \u003ca href=\"http://www.youtube.com/watch?v=sGKJcayVXU8\" target=\"offsite\" rel=\"noopener\">YouTube\u003c/a> hit. Or maybe you’re an avid watcher of \u003cb>30 Rock\u003c/b> and you were groovin’ to his soul-flecked, quick-witted hip-hop as early as last Thursday at 10 p.m. Or just possibly, you’re like most of the crowd waiting for Ghostland Observatory to take the stage on Saturday night who were hearing the Los Angeles-based MC for the first time. I won’t reveal where I fall on that timeline, but suffice it to say that I wasn’t completely sure what to expect from his live show.\u003c/p>\n\u003cp>Just minutes after taking the stage, The Gray Kid, aka Steve Cooper, had already won the crowd over through sheer will, careening around the stage, coiling up tightly with potential energy and delivering his lyrics with a manic fervor, practically hurling the rhymes from his head out at the audience via his hand gestures. He obsessively preens, smoothing out his hair across his forehead, and demands the audience’s attention like a seasoned showman with a righteous belief in his talents.\u003c/p>\n\u003cp>All the while, he spits out rapid-fire, adroitly-phrased lyrics sometimes reminiscent of Eminem, interspersed with soul grooves and an R&B falsetto, delivered over hip-hop and dance beats. The influence of Dirty South rap is heard, especially on the rollicking “Oh My,” as are the genre-bending explorations of Outkast. His lyrics have the smart-alecky feel of the Beastie Boys and his falsetto might remind one of Prince. If you’re noticing that a lot of big-name, popular acts are being mentioned, that’s because The Gray Kid is, at his core, a pop artist. His onstage demeanor is primarily a means of connecting with his audience. He ingratiates himself with the crowd through witty and irreverent lyrics about L.A.’s silicon-and-botox-addicted Barbie dolls, and draws them still closer by asking that they repeat the final line to his hook-laden driving song “Eh Man” along with him, “I eat with my hands. I drive with my knees.” By the end of his set, it’s obvious that he’s gained hundreds of new fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The days when an MTV video could make or break a song seem to be long gone. It’s not often that I bother to “watch” a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley’s single “Behave” was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.\u003c/p>\n\u003cp>The song is engaging enough, with its playful, jangly guitar hook and rumbling punctuations of bass. But when you also take note of its twisted lyrics and stalker-themed, spacey, cartoonish video, yessir, we’ve got a winner! \u003c/p>\n\u003cp>Hatherley’s performance in this video is of the “Vogue” school: posing, dreamy-eyed, coy. Visually a cross between Toni Collette and Chrissie Hynde, Hatherley’s dark looks belie her girlish voice and irresistably pathetic lyrics. “I’ll be willing, I’ll be a fool/I’ll be something that you do,” she sings to her object of affection. “Tell me, what do I have to do/To behave?” It all eerily presages the Lisa Nowak astronaut love-triangle story. Hatherley even calls her guy “commander” at one point. \u003c/p>\n\u003cp>\u003ca href=\"http://charlottehatherley.com/\" target=\"offsite\" rel=\"noopener\">Hatherley’s\u003c/a> first language is guitar. She left the Irish rock band Ash last year to focus on her own solo career. Her first album, \u003cb>Grey Will Fade\u003c/b>, came out in 2004. “Behave” is a single from \u003cb>The Deep Blue\u003c/b>, which came out March 6.\u003c/p>\n\u003cp>There’s another thing to consider about Hatherley: A second song from the album, also with its own \u003ca href=\"http://www.youtube.com/watch?v=2muG1ePX-aM\" target=\"offsite\" rel=\"noopener\">video on YouTube\u003c/a>, has a completely different tone. It’s more pugilistic, both aurally and visually, and it’s a sassy addition to the angry breakup song genre. It also shows that Charlotte Hatherley is a skilled guitar player who can rock. The music world can always use more women like that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The days when an MTV video could make or break a song seem to be long gone. It's not often that I bother to \"watch\" a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley's single \"Behave\" was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days when an MTV video could make or break a song seem to be long gone. It’s not often that I bother to “watch” a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley’s single “Behave” was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.\u003c/p>\n\u003cp>The song is engaging enough, with its playful, jangly guitar hook and rumbling punctuations of bass. But when you also take note of its twisted lyrics and stalker-themed, spacey, cartoonish video, yessir, we’ve got a winner! \u003c/p>\n\u003cp>Hatherley’s performance in this video is of the “Vogue” school: posing, dreamy-eyed, coy. Visually a cross between Toni Collette and Chrissie Hynde, Hatherley’s dark looks belie her girlish voice and irresistably pathetic lyrics. “I’ll be willing, I’ll be a fool/I’ll be something that you do,” she sings to her object of affection. “Tell me, what do I have to do/To behave?” It all eerily presages the Lisa Nowak astronaut love-triangle story. Hatherley even calls her guy “commander” at one point. \u003c/p>\n\u003cp>\u003ca href=\"http://charlottehatherley.com/\" target=\"offsite\" rel=\"noopener\">Hatherley’s\u003c/a> first language is guitar. She left the Irish rock band Ash last year to focus on her own solo career. Her first album, \u003cb>Grey Will Fade\u003c/b>, came out in 2004. “Behave” is a single from \u003cb>The Deep Blue\u003c/b>, which came out March 6.\u003c/p>\n\u003cp>There’s another thing to consider about Hatherley: A second song from the album, also with its own \u003ca href=\"http://www.youtube.com/watch?v=2muG1ePX-aM\" target=\"offsite\" rel=\"noopener\">video on YouTube\u003c/a>, has a completely different tone. It’s more pugilistic, both aurally and visually, and it’s a sassy addition to the angry breakup song genre. It also shows that Charlotte Hatherley is a skilled guitar player who can rock. The music world can always use more women like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Music and the Oscars. They go together like… like… peanut butter and orange juice. Er… like Reese and Ryan? Hmm. It’s a shame; apparently they used to have such a nice relationship. I heard an old-school Hollywood techie reminiscing about the good old days last week on NPR. The scene he described made the old Oscars show sound like a Vegas showgirl revue, and it probably was. Girls! Costumes! Lights! Song! Dance! Tap dancing, even — and not Savion Glover, either! When was the last time you saw that — and don’t say \u003cb>Happy Feet\u003c/b>, because that was Savion grafted onto a penguin body. Seriously, he is the only person allowed to tap dance in North America, as far as I can tell.\u003c/p>\n\u003cp>Well, there was a little of the old razzle-dazzle in this year’s Oscar ceremony, courtesy of three talented guys who can’t really dance but can actually sing: Will Ferrell, Jack Black, and John C. Reilly. OK, Ferrell can’t sing very well, but he was not — to quote Randy Jackson, “too pitchy.” Black, on the other hand, can belt it, as any fan of Tenacious D knows. And Reilly displayed his old Chicago theater roots by singing out in a classic Broadway show tune style, jazz hands and all. They were responsible for the best musical performance of the night, by far, in “\u003ca href=\"http://www.youtube.com/watch?v=qB6mh3ISsmM&eurl=http%3A%2F%2Fwww%2Elaist%2Ecom%2Farchives%2F2007%2F02%2F26%2Fmissed%5Fthe%5Foscars%5Frelax%5Fthis%5Fwas%5Fthe%5Fbest%5Fpart%2Ephp\" target=\"offsite\" rel=\"noopener\">A Comedian at the Oscars\u003c/a>,” their hilarious ode to the impossibility of comedic material ever receiving an Academy Award. Reilly offered hope in the example of his own career: “I chose to do both \u003cb>Boogie\u003c/b> and \u003cb>Talladega Nights\u003c/b>,” he reminded them, but Black nevertheless threatened to beat Peter O’Toole (“you’re all legendary and stuff,” he snarled) with his Nickelodeon Award anyway.\u003c/p>\n\u003cp>Of course, none of those three guys were up for an award, so the threat of the Oscar Song Performance lingered on. It was fully realized in all its boring, corny cheesiness, by Randy Newman and James Taylor, singing a quiet little song about “Our Town,” from the heinous animated film, \u003cb>Cars\u003c/b>. I didn’t actually see the movie, but my four year-old friend Elsa did, and she walked out, so I’ll trust her judgment. It’s incredible to me that James Taylor, a former mental patient and drug addict, and Randy Newman, a songwriter whose subversion is without peer in his field (if you don’t believe me, check out his classic “God’s Song,” in which God sings to mankind: “I recoil in horror at the foulness of thee… How We laugh up here in heaven at the prayers you offer Me.”), can come up with something so lame. I guess they figure the Older Crowd will be happy to see Sweet Baby James, but he’s a long way from “Fire and Rain.”\u003c/p>\n\u003cp>One thing giving me hope this year was the fact that three songs were nominated from one film, \u003cb>Dreamgirls\u003c/b>, which meant that they would be compressed into one performance, and they were. Unless you counted the performance of Jennifer Hudson’s cleavage, which deserved its own stage. Or at least a sturdier bra. Still, it was nice to see Beyonce in her element. She sounded great and looked amazing, too. And that other, forgotten Dreamgirl, Anika Noni Rose? She doesn’t get much press, but she is the only member of the cast, as far as I can tell, who has won a Tony Award. And San Franciscans, take pride: she’s an ACT grad, too.\u003c/p>\n\u003cp>Unfortunately, Ennio Morricone received a Lifetime Achievement Oscar, which meant that Celine Dion would be performing. Somehow they always manage to squeeze her in. (No offense to Ennio, who should have gotten a Nobel Prize at least for his theme to \u003cb> The Good, the Bad, and the Ugly\u003c/b> 41 years ago.) At least this time Celine was not wearing \u003ca href=\"http://72.14.253.104/search?q=cache:KbIVFI5IVFcJ:oscars.movies.yahoo.com/photos/photo.html%3Fgid%3D29%26pos%3D20+celine+dion+tuxedo&hl=en&ct=clnk&cd=4&gl=us\" target=\"offsite\" rel=\"noopener\">a backwards tuxedo\u003c/a> or a fedora. And in fact, after watching so many \u003cb>American Idol\u003c/b> contestants try to “do” Celine, it was a relief to see her doing herself. She was pretty convincing. The weird thing was that Ennio looked more Botoxed than Celine. It’s probably just another sign of the Apocalypse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, there was Melissa Etheridge. I was dreading this one: “I Need to Wake Up,” the theme to \u003cb>An Inconvenient Truth\u003c/b>. Nothing about that pairing suggests a good time. And yet… I came away from her performance thinking, “that was better than I thought a song about climate change could be.” The fact that she was backed by a giant PowerPoint presentation was a nice touch; as my friend Matthew said, \u003cb>An Inconvenient Truth\u003c/b> is “basically the best PowerPoint presentation you’ll ever see.” And what do you know, \u003cb>An Inconvenient PowerPoint Presentation\u003c/b> carried the night, winning not only Best Documentary Feature but Best Original Song, too! Turns out global warming is a feel-good concept after all! Ahh, Hollywood, you little minx. You can spin anything.\u003c/p>\n\u003cp>Winners at the Oscars come in two flavors: Official and Un-. Alan Arkin was the Official Winner of the Best Supporting Actor award, but clearly Jackie Earle Haley was the Unofficial Winner in this category due to his incredible comeback story as the former child/teenaged actor best known for his roles in \u003cb>The Bad News Bears\u003c/b> (1976) and \u003cb>Breaking Away\u003c/b> (1979) whose career had basically dried up until a few years ago. Dude had actually moved to San Antonio, Texas, if that gives you any idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And thus in the Best Musical Performance at the Oscars category, officially Melissa Etheridge won, but anyone who watched knew that Ferrell, Black, and Reilly’s “A Comedian at the Oscars” was hands-down the best crafted and most entertainingly performed tune of the night. With a lyric like, “I’m gonna lose forty pounds to play Ralph Nader/ I’m gonna do that gay coal-mining movie with James Spader,” who could touch it? No song moved you more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music and the Oscars. They go together like… like… peanut butter and orange juice. Er… like Reese and Ryan? Hmm. It’s a shame; apparently they used to have such a nice relationship. I heard an old-school Hollywood techie reminiscing about the good old days last week on NPR. The scene he described made the old Oscars show sound like a Vegas showgirl revue, and it probably was. Girls! Costumes! Lights! Song! Dance! Tap dancing, even — and not Savion Glover, either! When was the last time you saw that — and don’t say \u003cb>Happy Feet\u003c/b>, because that was Savion grafted onto a penguin body. Seriously, he is the only person allowed to tap dance in North America, as far as I can tell.\u003c/p>\n\u003cp>Well, there was a little of the old razzle-dazzle in this year’s Oscar ceremony, courtesy of three talented guys who can’t really dance but can actually sing: Will Ferrell, Jack Black, and John C. Reilly. OK, Ferrell can’t sing very well, but he was not — to quote Randy Jackson, “too pitchy.” Black, on the other hand, can belt it, as any fan of Tenacious D knows. And Reilly displayed his old Chicago theater roots by singing out in a classic Broadway show tune style, jazz hands and all. They were responsible for the best musical performance of the night, by far, in “\u003ca href=\"http://www.youtube.com/watch?v=qB6mh3ISsmM&eurl=http%3A%2F%2Fwww%2Elaist%2Ecom%2Farchives%2F2007%2F02%2F26%2Fmissed%5Fthe%5Foscars%5Frelax%5Fthis%5Fwas%5Fthe%5Fbest%5Fpart%2Ephp\" target=\"offsite\" rel=\"noopener\">A Comedian at the Oscars\u003c/a>,” their hilarious ode to the impossibility of comedic material ever receiving an Academy Award. Reilly offered hope in the example of his own career: “I chose to do both \u003cb>Boogie\u003c/b> and \u003cb>Talladega Nights\u003c/b>,” he reminded them, but Black nevertheless threatened to beat Peter O’Toole (“you’re all legendary and stuff,” he snarled) with his Nickelodeon Award anyway.\u003c/p>\n\u003cp>Of course, none of those three guys were up for an award, so the threat of the Oscar Song Performance lingered on. It was fully realized in all its boring, corny cheesiness, by Randy Newman and James Taylor, singing a quiet little song about “Our Town,” from the heinous animated film, \u003cb>Cars\u003c/b>. I didn’t actually see the movie, but my four year-old friend Elsa did, and she walked out, so I’ll trust her judgment. It’s incredible to me that James Taylor, a former mental patient and drug addict, and Randy Newman, a songwriter whose subversion is without peer in his field (if you don’t believe me, check out his classic “God’s Song,” in which God sings to mankind: “I recoil in horror at the foulness of thee… How We laugh up here in heaven at the prayers you offer Me.”), can come up with something so lame. I guess they figure the Older Crowd will be happy to see Sweet Baby James, but he’s a long way from “Fire and Rain.”\u003c/p>\n\u003cp>One thing giving me hope this year was the fact that three songs were nominated from one film, \u003cb>Dreamgirls\u003c/b>, which meant that they would be compressed into one performance, and they were. Unless you counted the performance of Jennifer Hudson’s cleavage, which deserved its own stage. Or at least a sturdier bra. Still, it was nice to see Beyonce in her element. She sounded great and looked amazing, too. And that other, forgotten Dreamgirl, Anika Noni Rose? She doesn’t get much press, but she is the only member of the cast, as far as I can tell, who has won a Tony Award. And San Franciscans, take pride: she’s an ACT grad, too.\u003c/p>\n\u003cp>Unfortunately, Ennio Morricone received a Lifetime Achievement Oscar, which meant that Celine Dion would be performing. Somehow they always manage to squeeze her in. (No offense to Ennio, who should have gotten a Nobel Prize at least for his theme to \u003cb> The Good, the Bad, and the Ugly\u003c/b> 41 years ago.) At least this time Celine was not wearing \u003ca href=\"http://72.14.253.104/search?q=cache:KbIVFI5IVFcJ:oscars.movies.yahoo.com/photos/photo.html%3Fgid%3D29%26pos%3D20+celine+dion+tuxedo&hl=en&ct=clnk&cd=4&gl=us\" target=\"offsite\" rel=\"noopener\">a backwards tuxedo\u003c/a> or a fedora. And in fact, after watching so many \u003cb>American Idol\u003c/b> contestants try to “do” Celine, it was a relief to see her doing herself. She was pretty convincing. The weird thing was that Ennio looked more Botoxed than Celine. It’s probably just another sign of the Apocalypse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, there was Melissa Etheridge. I was dreading this one: “I Need to Wake Up,” the theme to \u003cb>An Inconvenient Truth\u003c/b>. Nothing about that pairing suggests a good time. And yet… I came away from her performance thinking, “that was better than I thought a song about climate change could be.” The fact that she was backed by a giant PowerPoint presentation was a nice touch; as my friend Matthew said, \u003cb>An Inconvenient Truth\u003c/b> is “basically the best PowerPoint presentation you’ll ever see.” And what do you know, \u003cb>An Inconvenient PowerPoint Presentation\u003c/b> carried the night, winning not only Best Documentary Feature but Best Original Song, too! Turns out global warming is a feel-good concept after all! Ahh, Hollywood, you little minx. You can spin anything.\u003c/p>\n\u003cp>Winners at the Oscars come in two flavors: Official and Un-. Alan Arkin was the Official Winner of the Best Supporting Actor award, but clearly Jackie Earle Haley was the Unofficial Winner in this category due to his incredible comeback story as the former child/teenaged actor best known for his roles in \u003cb>The Bad News Bears\u003c/b> (1976) and \u003cb>Breaking Away\u003c/b> (1979) whose career had basically dried up until a few years ago. Dude had actually moved to San Antonio, Texas, if that gives you any idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And thus in the Best Musical Performance at the Oscars category, officially Melissa Etheridge won, but anyone who watched knew that Ferrell, Black, and Reilly’s “A Comedian at the Oscars” was hands-down the best crafted and most entertainingly performed tune of the night. With a lyric like, “I’m gonna lose forty pounds to play Ralph Nader/ I’m gonna do that gay coal-mining movie with James Spader,” who could touch it? No song moved you more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp> Do you like Stereolab? Do you like their girl + guy harmonies and lovely melodies, but are you sometimes annoyed by the wacky computerey sounds that seem like they’re in the mix just for the “techno” aspect of it all? No offense to Stereolab, but there have been more than a few moments when I’ve wondered whether they focus too much on the “lab” and not enough on the “stereo.” \u003c/p>\n\u003cp> If you share this concern, let me present the solution: Stars of Stage and Screen. They are a Brooklyn-based duo who sound like a much bigger band but I guess that’s what Ye Olde Miracle of Modern Technology is about. Their new album, \u003cb>American Oddity\u003c/b> is a gem. Full of good singalongs for the new century that are fun without being cloying, atmospheric but not pretentious, and technically impressive without showing it off. Lead singer Daughtry Carstarphen has a voice that soars gracefully over the band’s (amazingly, it’s pretty much just Carstarphen and partner Timothy Roven) grooving, multilayered instrumentation. It’s a voice that is pleasing but not overly sweet, much like the sound of the album as a whole.\u003c/p>\n\u003cp> That’s a very good aesthetic, especially when attempting to cover one of the Eighties’ biggest, fluffiest ballads: George Michael’s “Careless Whisper.” Hard to believe that 22 years have gone by since we first heard perhaps the most absurd couplet in pop history: “I’m never gonna dance again / Guilty feet have got no rhythm…” It took George Michael to teach us that a clean conscience was the first step toward funkiness on the dance floor. Thanks, George. Anyway, the Stars of Stage and Screen’s version of “Careless Whisper” owes more to another success story of 1985 — The Jesus and Mary Chain — than to George Michael, much less Andrew Ridgeley. There’s just enough of that Jesus and Mary fuzztone to create a nice contrast with the exquisite sappiness of the original lyrics and oh-so-tender melody. Don’t get me wrong: I’m no Wham-hater and I’m certainly not down on George Michael. As far as I can tell, the guy just gets better looking and smarter with age. And he gave a free concert for 2,000 National Health Service nurses in London last year to thank them for the good care they gave his dying mother. What’s not to love?\u003c/p>\n\u003cp> But this is a Stars of Stage and Screen review, so let’s get back to that (although they kind of asked for it by covering “Careless Whisper,” didn’t they?). I’m sure they would give a free concert for nurses if the opportunity presented itself.\u003c/p>\n\u003cp>So here’s the bottom line: the album is beautiful. If I had to speculate, I’d say that the perfect activity to accompany listening to \u003cb>American Oddity\u003c/b> would be taking a long walk through a city at any time of day or night. The music is dreamy and atmospheric enough to make any town seem mysterious and full of possibility. Fans of the aforementioned Stereolab, Radiohead, Sigur Ros, and Mates of State will love Stars of Stage and Screen. Run along now: pop it in the iPod and into the city you go.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> Do you like Stereolab? Do you like their girl + guy harmonies and lovely melodies, but are you sometimes annoyed by the wacky computerey sounds that seem like they’re in the mix just for the “techno” aspect of it all? No offense to Stereolab, but there have been more than a few moments when I’ve wondered whether they focus too much on the “lab” and not enough on the “stereo.” \u003c/p>\n\u003cp> If you share this concern, let me present the solution: Stars of Stage and Screen. They are a Brooklyn-based duo who sound like a much bigger band but I guess that’s what Ye Olde Miracle of Modern Technology is about. Their new album, \u003cb>American Oddity\u003c/b> is a gem. Full of good singalongs for the new century that are fun without being cloying, atmospheric but not pretentious, and technically impressive without showing it off. Lead singer Daughtry Carstarphen has a voice that soars gracefully over the band’s (amazingly, it’s pretty much just Carstarphen and partner Timothy Roven) grooving, multilayered instrumentation. It’s a voice that is pleasing but not overly sweet, much like the sound of the album as a whole.\u003c/p>\n\u003cp> That’s a very good aesthetic, especially when attempting to cover one of the Eighties’ biggest, fluffiest ballads: George Michael’s “Careless Whisper.” Hard to believe that 22 years have gone by since we first heard perhaps the most absurd couplet in pop history: “I’m never gonna dance again / Guilty feet have got no rhythm…” It took George Michael to teach us that a clean conscience was the first step toward funkiness on the dance floor. Thanks, George. Anyway, the Stars of Stage and Screen’s version of “Careless Whisper” owes more to another success story of 1985 — The Jesus and Mary Chain — than to George Michael, much less Andrew Ridgeley. There’s just enough of that Jesus and Mary fuzztone to create a nice contrast with the exquisite sappiness of the original lyrics and oh-so-tender melody. Don’t get me wrong: I’m no Wham-hater and I’m certainly not down on George Michael. As far as I can tell, the guy just gets better looking and smarter with age. And he gave a free concert for 2,000 National Health Service nurses in London last year to thank them for the good care they gave his dying mother. What’s not to love?\u003c/p>\n\u003cp> But this is a Stars of Stage and Screen review, so let’s get back to that (although they kind of asked for it by covering “Careless Whisper,” didn’t they?). I’m sure they would give a free concert for nurses if the opportunity presented itself.\u003c/p>\n\u003cp>So here’s the bottom line: the album is beautiful. If I had to speculate, I’d say that the perfect activity to accompany listening to \u003cb>American Oddity\u003c/b> would be taking a long walk through a city at any time of day or night. The music is dreamy and atmospheric enough to make any town seem mysterious and full of possibility. Fans of the aforementioned Stereolab, Radiohead, Sigur Ros, and Mates of State will love Stars of Stage and Screen. Run along now: pop it in the iPod and into the city you go.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area “international future music” company \u003ca href=\"http://om-records.com/\" target=\"offsite\" rel=\"noopener\">Om:records\u003c/a> recently put out new CDs by Strange Fruit Project and Zion I and the Grouch. Both parties stray from the commercial, carving out unique niches for themselves in a recently moribund hip hop space.\u003c/p>\n\u003cp>\u003cb>The Healing\u003c/b> — Strange Fruit Project\u003cbr>Similar in tone to Common, and reminiscent of A Tribe Called Quest, the Waco, Texas Strange Fruit Project serves up deep, thought provoking lyrics, laced with swanky bass lines and nostalgic, soul samples. Their distinct Texas vernacular is complemented by a variety of musical producers, making music where you can both listen to the lyrics and bob your head to the beat.\u003c/p>\n\u003cp>The trio is at their best when they weave in and out of sample-driven soul-drenched tunes such as “You (the only one),” a song to kick back and relax to. “Liberation” is another gem. Over a slinky, slow beat, the trio reflects on their lives, hardships, and mental freedom. “After Poppa caught the boat and set sail/ and momma followed shortly after that/ without a trail/ leaving a frail, innocent mind to defend himself behind enemy lines…” they rap, and I begin to reflect on my own personal growth; a testament to the power of a good song.\u003c/p>\n\u003cp>Next to the often profound lyrical offerings, there are a few danceable entries including “Get Live,” a feel good song with Erikah Badu that elevates and energizes. However, another “party” track, “Good times,” unfortunately sounds so retro it’s like something recorded in 1998, and not in a good way.\u003c/p>\n\u003cp>\u003cb>Heroes in the City of Dope\u003c/b> – Zion I and the Grouch\u003cbr>Zion I and the Grouch are giving the bay area music scene a heavy dose of socially relevant commentary. Like the Strange Fruit Project, this Bay Area rap trio has opted to follow a path less frequented by their hip hop brethren, and the result was music to my ears (for the most part).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the live, thumping production of Bay Area bred Amp-live, these MCs deliver unique lyricism that includes plenty of sarcasm, energy, and creativity. In “Trains and Planes” Zion raps, “I grew up on fresh air with hippies/ now I suck smog around wanna-be 50s (50 Cent).” Further, “Hit em’ Up,” a bass driven track with an infectious clap beat, was an opener that made me turn up the volume; much to the dismay of my neighbors.\u003c/p>\n\u003cp>The trio tries out smoother, laid back rhythms as well. “Lift Me up” a woosy, time-warped tune, feels like a dream. Other highlights include “Faint Hearted” and “Digital Dirt,” which critiques this generation’s fixation with digital media and materialism. “On the internet children sift through the sex/ FBI monitor message intercept/ …gotta get my botox/ weed/ and Viagra/ just to get my rocks off/ what happened to my stamina?… So when you see us on our typewriters/ sendin letters snail mail/ rubbin sticks for fire/ covered wagons that’s the tell tale sign of contentment/ peace and enlightenment.” While I don’t agree with the latter half of this lyric, being that digital media has made it possible for this trio to have a career, the song does make you think.\u003c/p>\n\u003cp>On other tracks, the Zion I and the Grouch attempt familiar territory and the results are mixed. “Too Much” sounds much too outdated to be included on the album, while “Smack” uses nostalgic early ’90s beat patterns. This one works, but you just might start break dancing!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Strange Fruit Project and Zion I and the Grouch. They give sincere, authentic musical offerings that, while not perfect, deliver a good amount of depth, in an age where Paris Hilton can get a record deal. So if you see me at BART with their music seeping from my headphones, you know the deal. Blaring headphones don’t lie.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area “international future music” company \u003ca href=\"http://om-records.com/\" target=\"offsite\" rel=\"noopener\">Om:records\u003c/a> recently put out new CDs by Strange Fruit Project and Zion I and the Grouch. Both parties stray from the commercial, carving out unique niches for themselves in a recently moribund hip hop space.\u003c/p>\n\u003cp>\u003cb>The Healing\u003c/b> — Strange Fruit Project\u003cbr>Similar in tone to Common, and reminiscent of A Tribe Called Quest, the Waco, Texas Strange Fruit Project serves up deep, thought provoking lyrics, laced with swanky bass lines and nostalgic, soul samples. Their distinct Texas vernacular is complemented by a variety of musical producers, making music where you can both listen to the lyrics and bob your head to the beat.\u003c/p>\n\u003cp>The trio is at their best when they weave in and out of sample-driven soul-drenched tunes such as “You (the only one),” a song to kick back and relax to. “Liberation” is another gem. Over a slinky, slow beat, the trio reflects on their lives, hardships, and mental freedom. “After Poppa caught the boat and set sail/ and momma followed shortly after that/ without a trail/ leaving a frail, innocent mind to defend himself behind enemy lines…” they rap, and I begin to reflect on my own personal growth; a testament to the power of a good song.\u003c/p>\n\u003cp>Next to the often profound lyrical offerings, there are a few danceable entries including “Get Live,” a feel good song with Erikah Badu that elevates and energizes. However, another “party” track, “Good times,” unfortunately sounds so retro it’s like something recorded in 1998, and not in a good way.\u003c/p>\n\u003cp>\u003cb>Heroes in the City of Dope\u003c/b> – Zion I and the Grouch\u003cbr>Zion I and the Grouch are giving the bay area music scene a heavy dose of socially relevant commentary. Like the Strange Fruit Project, this Bay Area rap trio has opted to follow a path less frequented by their hip hop brethren, and the result was music to my ears (for the most part).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the live, thumping production of Bay Area bred Amp-live, these MCs deliver unique lyricism that includes plenty of sarcasm, energy, and creativity. In “Trains and Planes” Zion raps, “I grew up on fresh air with hippies/ now I suck smog around wanna-be 50s (50 Cent).” Further, “Hit em’ Up,” a bass driven track with an infectious clap beat, was an opener that made me turn up the volume; much to the dismay of my neighbors.\u003c/p>\n\u003cp>The trio tries out smoother, laid back rhythms as well. “Lift Me up” a woosy, time-warped tune, feels like a dream. Other highlights include “Faint Hearted” and “Digital Dirt,” which critiques this generation’s fixation with digital media and materialism. “On the internet children sift through the sex/ FBI monitor message intercept/ …gotta get my botox/ weed/ and Viagra/ just to get my rocks off/ what happened to my stamina?… So when you see us on our typewriters/ sendin letters snail mail/ rubbin sticks for fire/ covered wagons that’s the tell tale sign of contentment/ peace and enlightenment.” While I don’t agree with the latter half of this lyric, being that digital media has made it possible for this trio to have a career, the song does make you think.\u003c/p>\n\u003cp>On other tracks, the Zion I and the Grouch attempt familiar territory and the results are mixed. “Too Much” sounds much too outdated to be included on the album, while “Smack” uses nostalgic early ’90s beat patterns. This one works, but you just might start break dancing!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Strange Fruit Project and Zion I and the Grouch. They give sincere, authentic musical offerings that, while not perfect, deliver a good amount of depth, in an age where Paris Hilton can get a record deal. So if you see me at BART with their music seeping from my headphones, you know the deal. Blaring headphones don’t lie.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“She had hair like Jeannie Shrimpton back in 1965.\u003cbr>She had legs that never ended, I was halfway paralyzed.\u003cbr>She was tall and cool and pretty and she dressed as black as coal.\u003cbr>If she’d ask me to I’d murder I would gladly lose my soul.”\u003c/p>\n\u003cp>It was some twenty years after 1965 and I was in Soho sitting in my cousin Larry’s car listening to summer radio circa 1986. The music was coming from iconic New York City radio station WNEW-FM. As D.J. Dennis Elsas segued into a new song, the lyrics above were accompanied by what, at that three minute and twenty four second moment in time, was one of the most powerful opening guitar riffs I had heard since “I Want To Hold Your Hand.”\u003c/p>\n\u003cp>Later I learned the riff was courtesy of “Behind The Wall of Sleep” by The Smithereens and guitarist Jim Babjak, who plugged his Rickenbacker into a Marshall stack rather than a Vox AC-30 to create guitar crunch heaven.\u003c/p>\n\u003cp>Another 20 years later, my passion for The Smithereens is refueled with major twists and shouts on \u003cb>Meet The Smithereens\u003c/b>, a track for track re-creation of \u003cb>Meet The Beatles\u003c/b> (on \u003ca href=\"http://www.kochentertainment.com/thesmithereens.htm\" target=\"offsite\" rel=\"noopener\">Koch Records\u003c/a>). Before you say, “Oh my god, who needs more Beatles covers?” here’s what Pat Dinizio (a founding member of the band) told me about the project in a recent interview, “\u003cb>Meet The Smithereens\u003c/b> is our affectionate tribute to one of the greatest records of all time, one that was only heard in America, and truly launched Beatlemania in the U.S. It was also the first Beatles album to feature almost all original songs (except one).”\u003c/p>\n\u003cp>So, what exactly did the Smithereens add to this iconic recording? According to Dinizio “I thought about that a long time, and decided it would be neat to sing the first verse as close to the phrasing of the original songs as I could, then the rest of each lyric in the signature Smithereens sound, which is highly appropriate because many of our songs truly were a tribute to the bands we loved when we were growing up in New Jersey.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Give \u003cb>Meet The Smithereens\u003c/b> a spin and see through the eyes of a very passionate band why The Beatles really were that incredible. What could be more appropriate for the end of the feud between Apple Computer and Apple Corps? Perhaps now they’ll finally remaster The Beatles’ albums so we can really hear all that is there.\u003c/p>\n\u003cp>The Smithereens will be appearing on Saturday, February 17th and Sunday February 18th, 2007 at the \u003ca href=\"http://www.reddevillounge.com\" target=\"offsite\" rel=\"noopener\">Red Devil Lounge\u003c/a>, 1695 Polk Street, San Francisco. The Saturday show is sold out. According to Pat Dinizio, they will perform songs from \u003cb>Meet The Smithereens\u003c/b> as well as our greatest hits album tracks and covers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An interview and live session by The Smithereens will air on Dennis “The Menace” Scheyer’s radio show \u003cb>Just Another Menace Sunday\u003c/b> Sunday, February 25, 2007 at 4pm on 90.3 KUSF. To listen online visit \u003ca href=\"http://www.live365.com/stations/kusf\" target=\"offsite\" rel=\"noopener\">KUSF\u003c/a> (at live365.com).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“She had hair like Jeannie Shrimpton back in 1965.\u003cbr>She had legs that never ended, I was halfway paralyzed.\u003cbr>She was tall and cool and pretty and she dressed as black as coal.\u003cbr>If she’d ask me to I’d murder I would gladly lose my soul.”\u003c/p>\n\u003cp>It was some twenty years after 1965 and I was in Soho sitting in my cousin Larry’s car listening to summer radio circa 1986. The music was coming from iconic New York City radio station WNEW-FM. As D.J. Dennis Elsas segued into a new song, the lyrics above were accompanied by what, at that three minute and twenty four second moment in time, was one of the most powerful opening guitar riffs I had heard since “I Want To Hold Your Hand.”\u003c/p>\n\u003cp>Later I learned the riff was courtesy of “Behind The Wall of Sleep” by The Smithereens and guitarist Jim Babjak, who plugged his Rickenbacker into a Marshall stack rather than a Vox AC-30 to create guitar crunch heaven.\u003c/p>\n\u003cp>Another 20 years later, my passion for The Smithereens is refueled with major twists and shouts on \u003cb>Meet The Smithereens\u003c/b>, a track for track re-creation of \u003cb>Meet The Beatles\u003c/b> (on \u003ca href=\"http://www.kochentertainment.com/thesmithereens.htm\" target=\"offsite\" rel=\"noopener\">Koch Records\u003c/a>). Before you say, “Oh my god, who needs more Beatles covers?” here’s what Pat Dinizio (a founding member of the band) told me about the project in a recent interview, “\u003cb>Meet The Smithereens\u003c/b> is our affectionate tribute to one of the greatest records of all time, one that was only heard in America, and truly launched Beatlemania in the U.S. It was also the first Beatles album to feature almost all original songs (except one).”\u003c/p>\n\u003cp>So, what exactly did the Smithereens add to this iconic recording? According to Dinizio “I thought about that a long time, and decided it would be neat to sing the first verse as close to the phrasing of the original songs as I could, then the rest of each lyric in the signature Smithereens sound, which is highly appropriate because many of our songs truly were a tribute to the bands we loved when we were growing up in New Jersey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Give \u003cb>Meet The Smithereens\u003c/b> a spin and see through the eyes of a very passionate band why The Beatles really were that incredible. What could be more appropriate for the end of the feud between Apple Computer and Apple Corps? Perhaps now they’ll finally remaster The Beatles’ albums so we can really hear all that is there.\u003c/p>\n\u003cp>The Smithereens will be appearing on Saturday, February 17th and Sunday February 18th, 2007 at the \u003ca href=\"http://www.reddevillounge.com\" target=\"offsite\" rel=\"noopener\">Red Devil Lounge\u003c/a>, 1695 Polk Street, San Francisco. The Saturday show is sold out. According to Pat Dinizio, they will perform songs from \u003cb>Meet The Smithereens\u003c/b> as well as our greatest hits album tracks and covers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An interview and live session by The Smithereens will air on Dennis “The Menace” Scheyer’s radio show \u003cb>Just Another Menace Sunday\u003c/b> Sunday, February 25, 2007 at 4pm on 90.3 KUSF. To listen online visit \u003ca href=\"http://www.live365.com/stations/kusf\" target=\"offsite\" rel=\"noopener\">KUSF\u003c/a> (at live365.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you’re not a fan of \u003ca href=\"http://www.theroots.com/\" target=\"offsite\" rel=\"noopener\">The Roots\u003c/a>, you may be familiar with their drummer, Ahmir Thompson, aka Questlove, aka ?uestlove, aka Questo. He’s got a big, signature ‘fro and often supplements his concert dates with deejay gigs, where he spins fanciful sets featuring everything from ’90s hip-hop to ’80s TV themes to ’70s funk. He has also drummed on great albums by Erykah Badu and D’Angelo.\u003c/p>\n\u003cp>During a two-month period beginning last fall, Questo filed a \u003ca href=\"http://www.okayplayer.com/questlove/Europe06/\" target=\"offsite\" rel=\"noopener\">video diary\u003c/a> of his experiences while touring Europe to support The Roots’ \u003cb>Game Theory\u003c/b> album. The tour has now hit the States, and if you saw them at the Fillmore this past week, the diaries make for an excellent little companion guide.\u003c/p>\n\u003cp>Normally I don’t go around seeking out artist blogs or diaries because a) it’s often a bunch of “Hey everybody what’s going on, we just came from Amsterdam and we’re really tired, will write more later, peace out,” b) they lie buried someplace where I’m not going to see them unless I’m a big fan and c) oh right, I wouldn’t care about them unless I’m a big fan anyway.\u003c/p>\n\u003cp>Well, all of the above is more or less true in the case of Questlove’s diary. I’m NOT a diehard Roots fan. While searching a general music blog, I stumbled onto these videos. There is indeed plenty of “I’m really tired right now because… ” The postings were sporadic. I was still waiting for a new one this month, as a matter of fact, before realizing that the European leg of the tour is done and thus, without any goodbyes or announcements, so is the vlog.\u003c/p>\n\u003cp>But there was still something about his tour diary that got me, and I found myself watching every single entry. Maybe it’s because it’s in video rather than text; maybe it’s because Questlove is often filming it when he’s alone in his hotel room, with the camera super up-close-and-personal; maybe it’s the little smart-ass text asides superimposed over the action — check out the way the captions mock him in \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">this installment\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are a few things I learned from watching these videos:\u003cbr>1. The members of The Roots have an internal competition where they keep a running tally of each others’ performance mistakes, which they call “fumbles.”\u003cbr>2. Paul McCartney’s “Heart of the Country” is a \u003ca href=\"http://www.youtube.com/watch?v=x7X5mM1iIss&eurl=\" target=\"offsite\" rel=\"noopener\">nice little ditty\u003c/a>.\u003cbr>3. Minor celebrities \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">can stalk\u003c/a> other minor celebrities.\u003cbr>4. Video technology still hasn’t adapted too well to shooting in \u003ca href=\"http://www.youtube.com/watch?v=oJ2DMOjfNO4&eurl=\" target=\"offsite\" rel=\"noopener\">dark nightclubs\u003c/a>.\u003cbr>5. There’s a difference between the dancing in a Goodie Mob video, a Jay-Z video, and those of several other hip-hop acts, and Questlove can imitate each to great effect.\u003c/p>\n\u003cp>For better or worse, Questo doesn’t hold back. He opens up his pain at being left out of \u003ci>Mojo\u003c/i> magazine’s top 50 albums of the year, his attempts to scope out the Pussycat Dolls and his \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc&eurl=\" target=\"offsite\" rel=\"noopener\">laundry-sorting standards\u003c/a>. He takes you backstage, onstage, to the dressing room and to the after-show party. The effort illustrates both the upsides and the downsides of a music tour vlog expressing its fullest potential, at least as executed without a professional production crew. It’s often dark, grainy and a little sophomorish. But it’s also a good glimpse into both The Roots themselves, and what it’s like to be on tour in a solidly famous but not mega-successful band.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps the best thing about this tour capsule is that it’s completely unpolished and uncontrived — a rarity for any public effort involving a major-label band that happens to be up for two Grammys this year. Who else would let you see himself acting like a fool, higher than a kite in Amsterdam? It wasn’t pretty, but it was fun to watch. Thanks, Ahmir.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you’re not a fan of \u003ca href=\"http://www.theroots.com/\" target=\"offsite\" rel=\"noopener\">The Roots\u003c/a>, you may be familiar with their drummer, Ahmir Thompson, aka Questlove, aka ?uestlove, aka Questo. He’s got a big, signature ‘fro and often supplements his concert dates with deejay gigs, where he spins fanciful sets featuring everything from ’90s hip-hop to ’80s TV themes to ’70s funk. He has also drummed on great albums by Erykah Badu and D’Angelo.\u003c/p>\n\u003cp>During a two-month period beginning last fall, Questo filed a \u003ca href=\"http://www.okayplayer.com/questlove/Europe06/\" target=\"offsite\" rel=\"noopener\">video diary\u003c/a> of his experiences while touring Europe to support The Roots’ \u003cb>Game Theory\u003c/b> album. The tour has now hit the States, and if you saw them at the Fillmore this past week, the diaries make for an excellent little companion guide.\u003c/p>\n\u003cp>Normally I don’t go around seeking out artist blogs or diaries because a) it’s often a bunch of “Hey everybody what’s going on, we just came from Amsterdam and we’re really tired, will write more later, peace out,” b) they lie buried someplace where I’m not going to see them unless I’m a big fan and c) oh right, I wouldn’t care about them unless I’m a big fan anyway.\u003c/p>\n\u003cp>Well, all of the above is more or less true in the case of Questlove’s diary. I’m NOT a diehard Roots fan. While searching a general music blog, I stumbled onto these videos. There is indeed plenty of “I’m really tired right now because… ” The postings were sporadic. I was still waiting for a new one this month, as a matter of fact, before realizing that the European leg of the tour is done and thus, without any goodbyes or announcements, so is the vlog.\u003c/p>\n\u003cp>But there was still something about his tour diary that got me, and I found myself watching every single entry. Maybe it’s because it’s in video rather than text; maybe it’s because Questlove is often filming it when he’s alone in his hotel room, with the camera super up-close-and-personal; maybe it’s the little smart-ass text asides superimposed over the action — check out the way the captions mock him in \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">this installment\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are a few things I learned from watching these videos:\u003cbr>1. The members of The Roots have an internal competition where they keep a running tally of each others’ performance mistakes, which they call “fumbles.”\u003cbr>2. Paul McCartney’s “Heart of the Country” is a \u003ca href=\"http://www.youtube.com/watch?v=x7X5mM1iIss&eurl=\" target=\"offsite\" rel=\"noopener\">nice little ditty\u003c/a>.\u003cbr>3. Minor celebrities \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">can stalk\u003c/a> other minor celebrities.\u003cbr>4. Video technology still hasn’t adapted too well to shooting in \u003ca href=\"http://www.youtube.com/watch?v=oJ2DMOjfNO4&eurl=\" target=\"offsite\" rel=\"noopener\">dark nightclubs\u003c/a>.\u003cbr>5. There’s a difference between the dancing in a Goodie Mob video, a Jay-Z video, and those of several other hip-hop acts, and Questlove can imitate each to great effect.\u003c/p>\n\u003cp>For better or worse, Questo doesn’t hold back. He opens up his pain at being left out of \u003ci>Mojo\u003c/i> magazine’s top 50 albums of the year, his attempts to scope out the Pussycat Dolls and his \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc&eurl=\" target=\"offsite\" rel=\"noopener\">laundry-sorting standards\u003c/a>. He takes you backstage, onstage, to the dressing room and to the after-show party. The effort illustrates both the upsides and the downsides of a music tour vlog expressing its fullest potential, at least as executed without a professional production crew. It’s often dark, grainy and a little sophomorish. But it’s also a good glimpse into both The Roots themselves, and what it’s like to be on tour in a solidly famous but not mega-successful band.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps the best thing about this tour capsule is that it’s completely unpolished and uncontrived — a rarity for any public effort involving a major-label band that happens to be up for two Grammys this year. Who else would let you see himself acting like a fool, higher than a kite in Amsterdam? It wasn’t pretty, but it was fun to watch. Thanks, Ahmir.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The spirit of rugged individualism is the very lifeblood of San Francisco. It’s the kind of place where Starchild can run for County Supervisor, where we not only put a measure to impeach President Bush on the ballot, but dozens of people will go out to Ocean Beach in mid-winter and lie upon the sand to spell the words “IMPEACH” with their bodies. I like to think of it as a city of the grand flourish.\u003c/p>\n\u003cp>And ever has the City by the Bay been this way, it appears. The city’s slogan, “Find Yourself Here,” was never more applicable than to the epic figure of San Franciscan Joshua Norton, Emperor of the United States, who ruled the nation from his seat of power, a little place on Commercial Street between Kearny and Montgomery. And for those not familiar with the man who was once one of San Francisco’s most beloved figures, Kim Ohanneson and Marty Axelrod have devised a rough-hewn tribute to Emperor Norton I, \u003cb>Emperor Norton, The Musical\u003c/b>, which runs through April 1 at the tiny Shelton Theater off Union Square.\u003c/p>\n\u003cp>The production, which had its origins as a cabaret act is undeniably cheesy — and long — with a handmade look about it. Painted flats of scenes from the Hyde Street pier or Tadich Grill simply lean against the back wall and the 12-member cast barely fits on the postage stamp sized stage. With little room backstage at the Shelton, the divan that you see in the lobby at intermission makes its way onto stage in the second act. There’s a whiff of the sense that this show had roots in a group of pals goofing off and yet there’s also something good humored and heartwarming about what is obviously a labor-of-love project. The folksy numbers are cute and despite — no, perhaps because of — its amateur moments, it somehow fits the quirky DIY story of the Emp, as he was more familiarly known.\u003c/p>\n\u003cp>A true San Francisco character, the Emperor handed down his decrees, well-publicized in the newspapers, on topics that touched the lives of his subjects. He decreed that the streets of Sacramento should be cleaned of mud, that a bridge should be constructed between Oakland and San Francisco. He abolished the Democratic and Republican parties and dissolved Congress. And no one was EVER to refer to San Francisco as “Frisco.”\u003c/p>\n\u003cp>Accompanied by his faithful canine companions, Bummer and Lazarus, the Emp, played by Stephen Pawley, was an honored guest at local functions and theatrical openings. In fact his devoted ragamuffins, played with relish by Peter Doty and Steffanos X in the musical offer some of the show’s most vivid moments, appearances by famous local characters Lola Montez, Lotta Crabtree, and Mark Twain not withstanding. There’s some strong singing from John Harrison as a newsboy who befriends the Emp, and an appearance by director David Stein as the Tadich Grill founder John Tadich, as well as the forlorn police officer Barbier who once arrested Norton and tried to have him committed for mental instability. (Needless to say, after public outrage ensued, his Highness was released.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The musical ranges over a lot of historical ground — an Emperor’s life is a quite busy one — and it’s hard to pick up the details of any particular thread to the story. Still, enough of the “strange, but true” essentials are in there to make for a colorful portrait of a post-Barbary Coast city where anything and everything goes, and apparently went.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Emperor Norton, The Musical\u003c/b> runs through April 1, 2007 at The Shelton Theater in San Francisco. For \u003ca href=\"http://emperornortonthemusical.com/\" target=\"offsite\" rel=\"noopener\">Tickets and Information\u003c/a> visit emperornortonthemusical.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The spirit of rugged individualism is the very lifeblood of San Francisco. It’s the kind of place where Starchild can run for County Supervisor, where we not only put a measure to impeach President Bush on the ballot, but dozens of people will go out to Ocean Beach in mid-winter and lie upon the sand to spell the words “IMPEACH” with their bodies. I like to think of it as a city of the grand flourish.\u003c/p>\n\u003cp>And ever has the City by the Bay been this way, it appears. The city’s slogan, “Find Yourself Here,” was never more applicable than to the epic figure of San Franciscan Joshua Norton, Emperor of the United States, who ruled the nation from his seat of power, a little place on Commercial Street between Kearny and Montgomery. And for those not familiar with the man who was once one of San Francisco’s most beloved figures, Kim Ohanneson and Marty Axelrod have devised a rough-hewn tribute to Emperor Norton I, \u003cb>Emperor Norton, The Musical\u003c/b>, which runs through April 1 at the tiny Shelton Theater off Union Square.\u003c/p>\n\u003cp>The production, which had its origins as a cabaret act is undeniably cheesy — and long — with a handmade look about it. Painted flats of scenes from the Hyde Street pier or Tadich Grill simply lean against the back wall and the 12-member cast barely fits on the postage stamp sized stage. With little room backstage at the Shelton, the divan that you see in the lobby at intermission makes its way onto stage in the second act. There’s a whiff of the sense that this show had roots in a group of pals goofing off and yet there’s also something good humored and heartwarming about what is obviously a labor-of-love project. The folksy numbers are cute and despite — no, perhaps because of — its amateur moments, it somehow fits the quirky DIY story of the Emp, as he was more familiarly known.\u003c/p>\n\u003cp>A true San Francisco character, the Emperor handed down his decrees, well-publicized in the newspapers, on topics that touched the lives of his subjects. He decreed that the streets of Sacramento should be cleaned of mud, that a bridge should be constructed between Oakland and San Francisco. He abolished the Democratic and Republican parties and dissolved Congress. And no one was EVER to refer to San Francisco as “Frisco.”\u003c/p>\n\u003cp>Accompanied by his faithful canine companions, Bummer and Lazarus, the Emp, played by Stephen Pawley, was an honored guest at local functions and theatrical openings. In fact his devoted ragamuffins, played with relish by Peter Doty and Steffanos X in the musical offer some of the show’s most vivid moments, appearances by famous local characters Lola Montez, Lotta Crabtree, and Mark Twain not withstanding. There’s some strong singing from John Harrison as a newsboy who befriends the Emp, and an appearance by director David Stein as the Tadich Grill founder John Tadich, as well as the forlorn police officer Barbier who once arrested Norton and tried to have him committed for mental instability. (Needless to say, after public outrage ensued, his Highness was released.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The musical ranges over a lot of historical ground — an Emperor’s life is a quite busy one — and it’s hard to pick up the details of any particular thread to the story. Still, enough of the “strange, but true” essentials are in there to make for a colorful portrait of a post-Barbary Coast city where anything and everything goes, and apparently went.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Emperor Norton, The Musical\u003c/b> runs through April 1, 2007 at The Shelton Theater in San Francisco. For \u003ca href=\"http://emperornortonthemusical.com/\" target=\"offsite\" rel=\"noopener\">Tickets and Information\u003c/a> visit emperornortonthemusical.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From Air Kisses To “Kiss Off!”\u003c/p>\n\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I’d share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>\n\u003cp>Despite my best intentions, I never made it to the Sundance Music Café, the “official” venue where one could listen to Michael Penn (okay, good movie connection), The Bird & The Bee, or Julia Sweeney and Jill Sobule (Jill is great, and hey I was wondering what “Pat” was up to weren’t you?)\u003c/p>\n\u003cp>That said, here are some of the highlights of what I heard while sitting in dark rooms at Sundance.\u003c/p>\n\u003cp>\u003cb>The Great Rock and Roll Swindle\u003c/b>, \u003cb>Absolute Beginners\u003c/b> and \u003cb>The Secret Policemen’s Other Ball\u003c/b> are all the work of director Julien Temple whose new film, \u003cb>Joe Strummer: The Future Is Unwritten\u003c/b>, is a passionate, comprehensive documentary about the co-conspirator of what is arguably (and that IS the operative term) the most influential rock and roll band of it’s time, The Clash. Of course the music is incredible (especially the very rare early footage of The 101’ers) and the pace makes 2 hours go by all too quickly. Trivial tidbit: Strummer’s soundtrack of \u003cb>Walker\u003c/b> was recorded at San Francisco’s now defunct Russian Hill Studios! Rating: Two middle fingers up! (P.S. If I have my way I’ll be doing a San Francisco screening of this film soon, I’ll let you know when and if it happens via this blog and the radio!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The key music scene in Jeffrey Blitz’s intelligent and hilarious high school comedy, \u003cb>Rocket Science\u003c/b>: a teenager enters a neighbor’s house to spy on a girl he has a major crush on. Before heading upstairs to the room of a nerdy boy who has the perfect view of her room, he encounters the mom and dad who are comfortably numb as they play the piano and cello as part of their “marriage therapy.” The song they sing off key and off beat: the Violent Femmes “Blister In The Sun.” Later, when the young love affair (Yes, he does get the girl) is falling apart, the Femmes “Kiss Off” comes blasting on to the soundtrack. Rating: Big hands — this film is fun!\u003c/p>\n\u003cp>Since I am under no obligation to be politically correct here, it is my opinion — and my opinion only — that the controversial rape scene involving Dakota Fanning in Deborah Kempmeier’s \u003cb>Hound Dog\u003c/b> is relevant to the story — and will help get the word out to make sure there are less victims, because they understand that things can happen if you are not careful. (High sensitivity factor here since this writer has a five-year old daughter.) In addition to the superb acting, there is a musical revelation in this film: white singers like Elvis Presley played a pivotal role in introducing the masses to many great black artists and songs (including “Hound Dog”) they never would have heard otherwise. Rating: High class, and that’s no lie!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special Mention To: \u003cb>Clubland\u003c/b> by Cherie Nolan for her choice of Siouxsie and the Banshee’s “Peek A Boo” in a scarily accurate ’80s New Wave flashback scene.\u003c/p>\n\n",
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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"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"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
},
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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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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"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/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"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",
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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",
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