window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_10862": {
"type": "authors",
"id": "byline_arts_10862",
"meta": {
"override": true
},
"slug": "byline_arts_10862",
"name": "Christopher Appelgren",
"isLoading": false
},
"byline_arts_10800": {
"type": "authors",
"id": "byline_arts_10800",
"meta": {
"override": true
},
"slug": "byline_arts_10800",
"name": "Christopher Appelgren",
"isLoading": false
},
"byline_arts_9641": {
"type": "authors",
"id": "byline_arts_9641",
"meta": {
"override": true
},
"slug": "byline_arts_9641",
"name": "Christopher Appelgren",
"isLoading": false
},
"cnunez": {
"type": "authors",
"id": "12",
"meta": {
"index": "authors_1716337520",
"id": "12",
"found": true
},
"name": "Christina Nunez",
"firstName": "Christina",
"lastName": "Nunez",
"slug": "cnunez",
"email": "FAKE_cnunez@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Christina Nunez is an editor and producer for NPR Digital Media, based at KQED's headquarters in San Francisco. She coordinates books and arts coverage for NPR.org. You can find more of her writing at her \u003ca href=\"http://uncomfortablemoments.blogspot.com/\">Uncomfortable Moments\u003c/a> blog.",
"avatar": "https://secure.gravatar.com/avatar/0eac4146dca1ed428c284acf5d479798?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Christina Nunez | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/0eac4146dca1ed428c284acf5d479798?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0eac4146dca1ed428c284acf5d479798?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cnunez"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.850678
},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"title": "Music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 409
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 409
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_10862": {
"type": "posts",
"id": "arts_10862",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10862",
"score": null,
"sort": [
1159296182000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1159296182,
"format": "standard",
"title": "Surfin' for Bands",
"headTitle": "Surfin’ for Bands | KQED",
"content": "\u003cp>So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren’t bothering to create a website, instead opting to use profile-driven Myspace or sites like \u003ca href=\"http://www.purevolume.com/\" target=\"offsite\" rel=\"noopener\">Purevolume\u003c/a> to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users — their friends, their friends’ friends and so on and so forth.\u003c/p>\n\u003cp>Sounds great, right? Built-in eyeballs on your page, easily accessed new people to market your band to, plus cool features like the ability to see how many people listened to your song. And indeed it all is great for a new band, with no budget to spend on a snazzy tricked-out site of their own, to have an instant presence on the web. But it’s also kind of cheap — metaphorically akin to slapping your band’s sticker on the wall of a club as opposed to performing on its stage.\u003c/p>\n\u003cp>There’s a lot that can be learned from a band’s site. One can gauge the members’ commitment to their craft and their collective sensibilities. When was the last time the upcoming show page was updated — does it include any upcoming shows or just vague info on some party they played in a friend’s warehouse last summer? That reveals how serious a band is about performing. Does their website feature snazzy design or is it animated? Then it’s likely that someone in the band is either a graphic or web designer by day (honestly, not so uncommon). Do they offer full song downloads or only streams; or, better (meaning worse) yet, only 30-second snippet streams? That betrays the band’s concerned about fans getting their music for free and not buying it legitimately. It also may reveal how many “All You Need To Know About The Music Business”-type books they’ve read. Is the website the band’s name plus a “dot net, “dot org” or “dot com”? If not, it may mean that they’re not the first band to use the name or it bears a strong resemblance to a common product or service. Typing in “Thekiller.net” and “Thekillers.org” took me to an extermination business’ website. It was only when I tried “thekillersmusic.com” that I was taken to the site of the band, The Killers.\u003c/p>\n\u003cp>One of my favorite band sites is for San Francisco’s self-described “HammJamm” band, Still Flyin’. I don’t know that HammJamm has taken off as a new musical genre but to my ears, Still Flyin’ are an original and irreverent reggae-flavored indie mini-orchestra with a few dozen real and honorary members. Songs like “Broken Rake Burn” and “M’stery Tent” are unselfconscious and playful with island rhythms and melodies performed with indie rock and pop sensibilities.\u003c/p>\n\u003cp>Their website URL is \u003ca href=\"http://www.nevergonnatouchit.tk/\" target=\"offsite\" rel=\"noopener\">www.nevergonnatouchit.tk\u003c/a>. The “dot tk” is attributable to the island of Tokelau’s offer of free domain registration with that suffix. Accordingly, Still Flyin’ thanks Tokelau for their domain name gift. The site is only one page with non-existent design. It has a plug for the band’s new full length \u003cb>Time Wrinkle\u003c/b> out now on Antenna Farm Records plus some priceless ramblings, a couple of odd images and links to the band’s Myspace profile for music samples, photos and upcoming show information. Still Flyin’s site is hilariously minimal and somehow without music or photos and because of its Spartan composition captures the spirit of the band in the way that their own customized Myspace profile can’t.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I invite you to do some band site analysis yourself and see what can be surmised from a visit to a band’s home on the web. Myspace is great as an index card catalog of performing artists but despite all the easy features, that’s about it. And if more of us visit bands’ sites, more new bands will make sure to make and maintain them.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 751,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705053696,
"excerpt": "So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren't bothering to create a website, instead opting to use profile-driven Myspace or sites like \u003ca href=\"http://www.purevolume.com/\" target=\"offsite\" rel=\"noopener\">Purevolume\u003c/a> to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users -- their friends, their friends' friends and so on and so forth.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren't bothering to create a website, instead opting to use profile-driven Myspace or sites like Purevolume to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users -- their friends, their friends' friends and so on and so forth.",
"title": "Surfin' for Bands | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Surfin' for Bands",
"datePublished": "2006-09-26T11:43:02-07:00",
"dateModified": "2024-01-12T02:01:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "surfin_for_bands",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-popculture/",
"nprByline": "Christopher Appelgren",
"sticky": false,
"path": "/arts/10862/surfin_for_bands",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So I spend a lot of time in front of a computer screen. Maybe you do too? A good portion of that time is spent checking out bands online and recently I am finding that more new bands aren’t bothering to create a website, instead opting to use profile-driven Myspace or sites like \u003ca href=\"http://www.purevolume.com/\" target=\"offsite\" rel=\"noopener\">Purevolume\u003c/a> to create instant band pages with out of the box solutions for showcasing music, photographs and video easily and the ability to plug into vast networks of existing users — their friends, their friends’ friends and so on and so forth.\u003c/p>\n\u003cp>Sounds great, right? Built-in eyeballs on your page, easily accessed new people to market your band to, plus cool features like the ability to see how many people listened to your song. And indeed it all is great for a new band, with no budget to spend on a snazzy tricked-out site of their own, to have an instant presence on the web. But it’s also kind of cheap — metaphorically akin to slapping your band’s sticker on the wall of a club as opposed to performing on its stage.\u003c/p>\n\u003cp>There’s a lot that can be learned from a band’s site. One can gauge the members’ commitment to their craft and their collective sensibilities. When was the last time the upcoming show page was updated — does it include any upcoming shows or just vague info on some party they played in a friend’s warehouse last summer? That reveals how serious a band is about performing. Does their website feature snazzy design or is it animated? Then it’s likely that someone in the band is either a graphic or web designer by day (honestly, not so uncommon). Do they offer full song downloads or only streams; or, better (meaning worse) yet, only 30-second snippet streams? That betrays the band’s concerned about fans getting their music for free and not buying it legitimately. It also may reveal how many “All You Need To Know About The Music Business”-type books they’ve read. Is the website the band’s name plus a “dot net, “dot org” or “dot com”? If not, it may mean that they’re not the first band to use the name or it bears a strong resemblance to a common product or service. Typing in “Thekiller.net” and “Thekillers.org” took me to an extermination business’ website. It was only when I tried “thekillersmusic.com” that I was taken to the site of the band, The Killers.\u003c/p>\n\u003cp>One of my favorite band sites is for San Francisco’s self-described “HammJamm” band, Still Flyin’. I don’t know that HammJamm has taken off as a new musical genre but to my ears, Still Flyin’ are an original and irreverent reggae-flavored indie mini-orchestra with a few dozen real and honorary members. Songs like “Broken Rake Burn” and “M’stery Tent” are unselfconscious and playful with island rhythms and melodies performed with indie rock and pop sensibilities.\u003c/p>\n\u003cp>Their website URL is \u003ca href=\"http://www.nevergonnatouchit.tk/\" target=\"offsite\" rel=\"noopener\">www.nevergonnatouchit.tk\u003c/a>. The “dot tk” is attributable to the island of Tokelau’s offer of free domain registration with that suffix. Accordingly, Still Flyin’ thanks Tokelau for their domain name gift. The site is only one page with non-existent design. It has a plug for the band’s new full length \u003cb>Time Wrinkle\u003c/b> out now on Antenna Farm Records plus some priceless ramblings, a couple of odd images and links to the band’s Myspace profile for music samples, photos and upcoming show information. Still Flyin’s site is hilariously minimal and somehow without music or photos and because of its Spartan composition captures the spirit of the band in the way that their own customized Myspace profile can’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I invite you to do some band site analysis yourself and see what can be surmised from a visit to a band’s home on the web. Myspace is great as an index card catalog of performing artists but despite all the easy features, that’s about it. And if more of us visit bands’ sites, more new bands will make sure to make and maintain them.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10862/surfin_for_bands",
"authors": [
"byline_arts_10862"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_10800": {
"type": "posts",
"id": "arts_10800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10800",
"score": null,
"sort": [
1158803575000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1158803575,
"format": "standard",
"title": "A Little Radio Revolution",
"headTitle": "A Little Radio Revolution | KQED",
"content": "\u003cp>At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, “What, um, is Noise Pop?” It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn’t something that can be simply summed up. Noise Pop is an annual music festival, that part’s easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.\u003c/p>\n\u003cp>But somehow, even after rattling off our different initiatives, I am not sure if I’ve explained what Noise Pop is. And interestingly I think there are more and more new businesses that are similarly… inexplicable. Take Little Radio, based in LA. Basically, Little Radio is an internet radio station. But their website is also an indie music blogzine — highlighting news and posts from dozens of music blogs from all over — and a podcast network with links to various music podcasts. Beyond that, Little Radio’s headquarters is a warehouse in the fashion district of downtown Los Angeles with a stage and good sound system that plays host to unannounced shows by indie heavyweights including Sonic Youth, Peaches, and She Wants Revenge among others. In the parking lot next door they held a series of barbeque shows every Sunday this summer called the Little Radio Summer Camp. These events were free, had two to three bands performing and attracted sizeable crowds to listen to live music, frolic in inflatable pools and slip’n’slides, drink cheap beer and eat homemade barbeque.\u003c/p>\n\u003cp>All those things sound like a lot of fun — cool music events, secret hipster shows, informative website. Here’s the thing, Little Radio are also organizing a four month bio-diesel bus tour of the US with stops in various cities at music festivals and shows where they’ll be spreading an environmentally conscious message and webcasting live. They’re also renting out office space next to their warehouse / venue and do CD and DVD manufacturing.\u003c/p>\n\u003cp>The business elements are in there somewhere, mixed in and marinating with the fun events; but taken together they don’t add up to a simple sentence of explanation. I think that Little Radio is an example of a new kind of experiential business concept — a company that has a specific experience and character at it’s core as opposed to a product or service. Further, success is not based on manufacturing the highest quality of whatever is being sold. Success is instead measured by how effectively the character of the company is reflected and amplified.\u003c/p>\n\u003cp>You might suspect that this is an elaborate excuse for me being tongue-tied when asked about Noise Pop; something along the lines of “It’s not my fault if words fall short of capturing what we do in concise terms because it’s just too cutting edge a business model to explain.” And that’s not totally wrong but what’s also true is that there are new music and entertainment business models being road-tested in tiny clubs, warehouses, bedrooms and even bio-diesel buses that someday soon may not require any explanation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 619,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705053703,
"excerpt": "At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, \"What, um, is Noise Pop?\" It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn't something that can be simply summed up. Noise Pop is an annual music festival, that part's easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, "What, um, is Noise Pop?" It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn't something that can be simply summed up. Noise Pop is an annual music festival, that part's easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.",
"title": "A Little Radio Revolution | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Little Radio Revolution",
"datePublished": "2006-09-20T18:52:55-07:00",
"dateModified": "2024-01-12T02:01:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a_little_radio_revolution",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/",
"nprByline": "Christopher Appelgren",
"sticky": false,
"path": "/arts/10800/a_little_radio_revolution",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the after party for a comedy show this summer co-presented by The Onion and Noise Pop at The Independent on Divisadero, one of the comedians asked me, “What, um, is Noise Pop?” It seemed like an easy question to answer but I found myself stumbling with my answer. Part of that may be my own desire to come up with a brilliantly clever quip in response to this clever-quipping comedian. And part of it is because Noise Pop isn’t something that can be simply summed up. Noise Pop is an annual music festival, that part’s easy. But starting this year it is also a new business dedicated to a number of other things including a continuing series of special events here in the city, original podcast programs, a sprawling new website with lots of features, internet radio programs, and merchandise.\u003c/p>\n\u003cp>But somehow, even after rattling off our different initiatives, I am not sure if I’ve explained what Noise Pop is. And interestingly I think there are more and more new businesses that are similarly… inexplicable. Take Little Radio, based in LA. Basically, Little Radio is an internet radio station. But their website is also an indie music blogzine — highlighting news and posts from dozens of music blogs from all over — and a podcast network with links to various music podcasts. Beyond that, Little Radio’s headquarters is a warehouse in the fashion district of downtown Los Angeles with a stage and good sound system that plays host to unannounced shows by indie heavyweights including Sonic Youth, Peaches, and She Wants Revenge among others. In the parking lot next door they held a series of barbeque shows every Sunday this summer called the Little Radio Summer Camp. These events were free, had two to three bands performing and attracted sizeable crowds to listen to live music, frolic in inflatable pools and slip’n’slides, drink cheap beer and eat homemade barbeque.\u003c/p>\n\u003cp>All those things sound like a lot of fun — cool music events, secret hipster shows, informative website. Here’s the thing, Little Radio are also organizing a four month bio-diesel bus tour of the US with stops in various cities at music festivals and shows where they’ll be spreading an environmentally conscious message and webcasting live. They’re also renting out office space next to their warehouse / venue and do CD and DVD manufacturing.\u003c/p>\n\u003cp>The business elements are in there somewhere, mixed in and marinating with the fun events; but taken together they don’t add up to a simple sentence of explanation. I think that Little Radio is an example of a new kind of experiential business concept — a company that has a specific experience and character at it’s core as opposed to a product or service. Further, success is not based on manufacturing the highest quality of whatever is being sold. Success is instead measured by how effectively the character of the company is reflected and amplified.\u003c/p>\n\u003cp>You might suspect that this is an elaborate excuse for me being tongue-tied when asked about Noise Pop; something along the lines of “It’s not my fault if words fall short of capturing what we do in concise terms because it’s just too cutting edge a business model to explain.” And that’s not totally wrong but what’s also true is that there are new music and entertainment business models being road-tested in tiny clubs, warehouses, bedrooms and even bio-diesel buses that someday soon may not require any explanation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10800/a_little_radio_revolution",
"authors": [
"byline_arts_10800"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_10580": {
"type": "posts",
"id": "arts_10580",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10580",
"score": null,
"sort": [
1158096164000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1158096164,
"format": "standard",
"title": "Keren Ann & The Hard Work of Effortlessness",
"headTitle": "Keren Ann & The Hard Work of Effortlessness | KQED",
"content": "\u003cp>It’s a trend that never happened… yet. The whole singer-who-isn’t-really-a-singer trend is the non-trend I’m talking about. Still with me? Here’s a quick taste:\u003cbr> “Tall and tan and young and lovely\u003cbr>The girl from Ipanema goes walking\u003cbr>And when she’s walking each one she passes goes, ‘aah…’\u003c/p>\n\u003cp>“Aah,” indeed. Aah-strud Gilberto probably started it right there in 1963, with her soft, sexy vocals (you can’t really call it singing, and let’s agree to avoid the term “spoken word”) on “The Girl From Ipanema.” Was it her tone, her timing, or her awesome Brazilian accent that made it so phenomenal? Americans have never been known for their love of foreign-accented English, but Astrud was different. Her voice was full of promise, as if she were translating the original Portuguese lyrics on the spot, and perhaps keeping some of the good stuff to herself. Plus, “Astrud Gilberto?” Best. Name. Ever.\u003c/p>\n\u003cp>After Astrud, la deluge. Or not, as it turned out. There have been a few notable bandwagon-jumpers to this whole English-in-translation vocal style but not as many as one might expect, given the global success of “The Girl from Ipanema.” The most successful were both products of the sick mind of Serge Gainsbourg (a description he would no doubt have approved; R.I.P. Serge), namely “Bonnie and Clyde” (1968), featuring Brigitte Bardot, and “Je T’Aime…Moi Non Plus” (1969), with the lovely Jane Birkin on the mic. If you’ve never heard Bardot sing but you know what she looked like in 1968, you’ve pretty much got the idea. And while it might not seem much on paper, “Bonnie and Clyde” is a fantastic song. With Birkin, you get the same concept in reverse: a native English speaker (she’s British) singing in French, plus a lot of heavy breathing, which is expressed in the universal language of love.\u003c/p>\n\u003cp>So they have the non-native tongue thing in common, but there’s also something else binding Gilberto, Bardot, and Birkin together: it’s the ease with which they do their thang. Their singing sounds like one big, long sigh — and what could be more relaxing than that? Actually, it’s hard. Try to sing in a whisper and you will find that your sense of pitch, if you have one, flounders in the compromised airspace. Then try to whisper-sing in a foreign language. See? It’s not as easy as it sounds.\u003c/p>\n\u003cp>So I guess that’s why we have these long gaps in between the appearances of sexy, breathy, talky foreign songstresses. There was a notable addition to the field in 2004, when Japanese jazz pianist and singer Michiko Ogawa released \u003cb>It’s All About Love\u003c/b> and on it her version of Billie Holiday’s “I Cover the Waterfront.” I know it sounds unlikely, but trust me! Unfortunately, you’ll have to, because it’s pretty hard to find the album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Luckily for this generation’s hipsters, a new gal has appeared on the scene in the last few years, Keren Ann of France (to be specific, she apparently “divides her time” between Paris and New York. How much time does she have, anyway?) Keren Ann started to get attention in the U.S. with her last two releases, \u003cb>Nolita\u003c/b> (2003) and \u003cb>Not Going Anywhere\u003c/b> (2004). It was in these albums that she earned her place in the Gilberto-Bardot-Birkin pantheon, with songs like “Spanish Songbird” and “Roses and Hips.” Her voice is soft and mellow, but she never drifts too far into the “Happy Birthday Mr. President” zone of things (we haven’t even discussed Marilyn Monroe’s contributions to the genre).\u003c/p>\n\u003cp>Now Keren Ann has a new album, a collaboration with an Icelandic lad named Bardi Johannsson. If it weren’t for Bjork, I suppose the world would summarily dismiss an Icelandic popster, but we live in a post-Bjork world, don’t we? So it won’t seem strange when I tell you that Keren Ann and Bardi Johansson, performing as Lady and Bird, do a cover of “Suicide is Painless,” which you will remember as the theme song to \u003cb>M*A*S*H\u003c/b>. Oh, 2006. That’s the world we live in. Well, “Suicide is Painless” is not the best track on the album — in fact it’s frighteningly redolent of 1970, with all that implies. \u003cb>Lady and Bird\u003c/b> moves away from the pure Keren Ann loveliness in that it’s more obviously produced; there’s just more sound on this album. That’s not necessarily a bad thing, although I think I could have done without the Keren-and-Bardi-on-helium final track, “La Ballade of [sic] Lady and Bird.” Ah, well. Even Monsieur Gainsbourg had his off days. He had a lot of them, as a matter of fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if you think that a straight shot of Keren Ann might be too much prettiness in one package, give Lady and Bird a try. It may satisfy your need for funny little digital sounds to interrupt the pure joy of analog sound.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 932,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705053715,
"excerpt": "It's a trend that never happened... yet. The whole singer-who-isn't-really-a-singer trend is the non-trend I'm talking about. Still with me? Here's a quick taste:\u003cbr /> \"Tall and tan and young and lovely\u003cbr />The girl from Ipanema goes walking\u003cbr />And when she's walking each one she passes goes, 'aah...'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's a trend that never happened... yet. The whole singer-who-isn't-really-a-singer trend is the non-trend I'm talking about. Still with me? Here's a quick taste: "Tall and tan and young and lovelyThe girl from Ipanema goes walkingAnd when she's walking each one she passes goes, 'aah...'",
"title": "Keren Ann & The Hard Work of Effortlessness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Keren Ann & The Hard Work of Effortlessness",
"datePublished": "2006-09-12T14:22:44-07:00",
"dateModified": "2024-01-12T02:01:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "keren_ann__the_hard_work_of_effortlessness",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/",
"sticky": false,
"path": "/arts/10580/keren_ann__the_hard_work_of_effortlessness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a trend that never happened… yet. The whole singer-who-isn’t-really-a-singer trend is the non-trend I’m talking about. Still with me? Here’s a quick taste:\u003cbr> “Tall and tan and young and lovely\u003cbr>The girl from Ipanema goes walking\u003cbr>And when she’s walking each one she passes goes, ‘aah…’\u003c/p>\n\u003cp>“Aah,” indeed. Aah-strud Gilberto probably started it right there in 1963, with her soft, sexy vocals (you can’t really call it singing, and let’s agree to avoid the term “spoken word”) on “The Girl From Ipanema.” Was it her tone, her timing, or her awesome Brazilian accent that made it so phenomenal? Americans have never been known for their love of foreign-accented English, but Astrud was different. Her voice was full of promise, as if she were translating the original Portuguese lyrics on the spot, and perhaps keeping some of the good stuff to herself. Plus, “Astrud Gilberto?” Best. Name. Ever.\u003c/p>\n\u003cp>After Astrud, la deluge. Or not, as it turned out. There have been a few notable bandwagon-jumpers to this whole English-in-translation vocal style but not as many as one might expect, given the global success of “The Girl from Ipanema.” The most successful were both products of the sick mind of Serge Gainsbourg (a description he would no doubt have approved; R.I.P. Serge), namely “Bonnie and Clyde” (1968), featuring Brigitte Bardot, and “Je T’Aime…Moi Non Plus” (1969), with the lovely Jane Birkin on the mic. If you’ve never heard Bardot sing but you know what she looked like in 1968, you’ve pretty much got the idea. And while it might not seem much on paper, “Bonnie and Clyde” is a fantastic song. With Birkin, you get the same concept in reverse: a native English speaker (she’s British) singing in French, plus a lot of heavy breathing, which is expressed in the universal language of love.\u003c/p>\n\u003cp>So they have the non-native tongue thing in common, but there’s also something else binding Gilberto, Bardot, and Birkin together: it’s the ease with which they do their thang. Their singing sounds like one big, long sigh — and what could be more relaxing than that? Actually, it’s hard. Try to sing in a whisper and you will find that your sense of pitch, if you have one, flounders in the compromised airspace. Then try to whisper-sing in a foreign language. See? It’s not as easy as it sounds.\u003c/p>\n\u003cp>So I guess that’s why we have these long gaps in between the appearances of sexy, breathy, talky foreign songstresses. There was a notable addition to the field in 2004, when Japanese jazz pianist and singer Michiko Ogawa released \u003cb>It’s All About Love\u003c/b> and on it her version of Billie Holiday’s “I Cover the Waterfront.” I know it sounds unlikely, but trust me! Unfortunately, you’ll have to, because it’s pretty hard to find the album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Luckily for this generation’s hipsters, a new gal has appeared on the scene in the last few years, Keren Ann of France (to be specific, she apparently “divides her time” between Paris and New York. How much time does she have, anyway?) Keren Ann started to get attention in the U.S. with her last two releases, \u003cb>Nolita\u003c/b> (2003) and \u003cb>Not Going Anywhere\u003c/b> (2004). It was in these albums that she earned her place in the Gilberto-Bardot-Birkin pantheon, with songs like “Spanish Songbird” and “Roses and Hips.” Her voice is soft and mellow, but she never drifts too far into the “Happy Birthday Mr. President” zone of things (we haven’t even discussed Marilyn Monroe’s contributions to the genre).\u003c/p>\n\u003cp>Now Keren Ann has a new album, a collaboration with an Icelandic lad named Bardi Johannsson. If it weren’t for Bjork, I suppose the world would summarily dismiss an Icelandic popster, but we live in a post-Bjork world, don’t we? So it won’t seem strange when I tell you that Keren Ann and Bardi Johansson, performing as Lady and Bird, do a cover of “Suicide is Painless,” which you will remember as the theme song to \u003cb>M*A*S*H\u003c/b>. Oh, 2006. That’s the world we live in. Well, “Suicide is Painless” is not the best track on the album — in fact it’s frighteningly redolent of 1970, with all that implies. \u003cb>Lady and Bird\u003c/b> moves away from the pure Keren Ann loveliness in that it’s more obviously produced; there’s just more sound on this album. That’s not necessarily a bad thing, although I think I could have done without the Keren-and-Bardi-on-helium final track, “La Ballade of [sic] Lady and Bird.” Ah, well. Even Monsieur Gainsbourg had his off days. He had a lot of them, as a matter of fact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So if you think that a straight shot of Keren Ann might be too much prettiness in one package, give Lady and Bird a try. It may satisfy your need for funny little digital sounds to interrupt the pure joy of analog sound.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10580/keren_ann__the_hard_work_of_effortlessness",
"authors": [
"13"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_10462": {
"type": "posts",
"id": "arts_10462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10462",
"score": null,
"sort": [
1157591550000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1157591550,
"format": "standard",
"title": "Brazilian Girls: Talk to La Bomb",
"headTitle": "Brazilian Girls: Talk to La Bomb | KQED",
"content": "\u003cp>If \u003cb>Brazilian Girls\u003c/b>‘ first album was like a drunken, dreamy party, their second album sounds like that same party got drunker, meaner and moved to Germany. More of the songs grind instead of swaying, featuring pumped-up drum and bass and low, fuzzy synthesizers.\u003c/p>\n\u003cp>But Brazilian Girls, a band with one girl and no Brazilians, still has its sense of humor on \u003cb>Talk to La Bomb\u003c/b>, evidenced by a techno-like track that sounds like it could be the second coming of ’80s one-hit wonders Nena: “Sexy Asshole.” Most of the lyrics on this one are in German, but then the title says it all, does it not? On another track, “Tourist Trap,” lead singer Sabina Sciubba sings over a bongo beat, “Losing at the casino/Drinking wine and tequila/Lalalalala/Throwing up.”\u003c/p>\n\u003cp>Then there’s “Last Call,” a breathy, catchy number that features Ric Ocasek as a producer. It’s an up-tempo paean to a go-go dancer — nothing you’d ever associate with the former Cars frontman, except for the fact that it’s probably the most radio-friendly track on the album. Someone described \u003cb>Talk to La Bomb\u003c/b> to me as “rock-ier” than the band’s first album — but despite Ocasek’s involvement, the rock feel does not seem particularly apparent. It feels more like an album that’s designed to be played as background music in a club, as created by people who are making fun of everyone IN said club.\u003c/p>\n\u003cp>“Background Music” sounds like an indictment, which might not be quite fair. Sabina Sciubba’s voice is always alluring to hear. She sounds like an international agent who happened to stumble on a microphone. Her range is limited, but her seductive charisma is not: On the slinky “Nicotine,” she adds an Indian-style flourish to her voice; on other tracks, such as “Never Met a German,” she makes the tongue in her cheek quite discernible.\u003c/p>\n\u003cp>There’s a flip side to this kind of wide-ranging irony, which is that the album can get a little tiresome in spots, such as the title track, “Talk to the Bomb.” In general, the band’s second album is less inviting than the first — though the scuzzier, less melodic sound does offer a showcase for drummer Aaron Johnston, whose beats are tight and impressive. Brazilian Girls are always a little strange and opaque, without seeming to get too deep — it’s tempting to listen in on Sciubba’s patter of multiple languages to decode all the lyrics, but the lack of real emotion behind the delivery makes it easier to just put it on in the car, soak up the atmosphere, and appreciate the irony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 488,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705053719,
"excerpt": "If \u003cb>Brazilian Girls\u003c/b>' first album was like a drunken, dreamy party, their second album sounds like that same party got drunker, meaner and moved to Germany. More of the songs grind instead of swaying, featuring pumped-up drum and bass and low, fuzzy synthesizers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If Brazilian Girls' first album was like a drunken, dreamy party, their second album sounds like that same party got drunker, meaner and moved to Germany. More of the songs grind instead of swaying, featuring pumped-up drum and bass and low, fuzzy synthesizers.",
"title": "Brazilian Girls: Talk to La Bomb | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Brazilian Girls: Talk to La Bomb",
"datePublished": "2006-09-06T18:12:30-07:00",
"dateModified": "2024-01-12T02:01:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brazilian_girls_talk_to_la_bomb",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/10462/brazilian_girls_talk_to_la_bomb",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If \u003cb>Brazilian Girls\u003c/b>‘ first album was like a drunken, dreamy party, their second album sounds like that same party got drunker, meaner and moved to Germany. More of the songs grind instead of swaying, featuring pumped-up drum and bass and low, fuzzy synthesizers.\u003c/p>\n\u003cp>But Brazilian Girls, a band with one girl and no Brazilians, still has its sense of humor on \u003cb>Talk to La Bomb\u003c/b>, evidenced by a techno-like track that sounds like it could be the second coming of ’80s one-hit wonders Nena: “Sexy Asshole.” Most of the lyrics on this one are in German, but then the title says it all, does it not? On another track, “Tourist Trap,” lead singer Sabina Sciubba sings over a bongo beat, “Losing at the casino/Drinking wine and tequila/Lalalalala/Throwing up.”\u003c/p>\n\u003cp>Then there’s “Last Call,” a breathy, catchy number that features Ric Ocasek as a producer. It’s an up-tempo paean to a go-go dancer — nothing you’d ever associate with the former Cars frontman, except for the fact that it’s probably the most radio-friendly track on the album. Someone described \u003cb>Talk to La Bomb\u003c/b> to me as “rock-ier” than the band’s first album — but despite Ocasek’s involvement, the rock feel does not seem particularly apparent. It feels more like an album that’s designed to be played as background music in a club, as created by people who are making fun of everyone IN said club.\u003c/p>\n\u003cp>“Background Music” sounds like an indictment, which might not be quite fair. Sabina Sciubba’s voice is always alluring to hear. She sounds like an international agent who happened to stumble on a microphone. Her range is limited, but her seductive charisma is not: On the slinky “Nicotine,” she adds an Indian-style flourish to her voice; on other tracks, such as “Never Met a German,” she makes the tongue in her cheek quite discernible.\u003c/p>\n\u003cp>There’s a flip side to this kind of wide-ranging irony, which is that the album can get a little tiresome in spots, such as the title track, “Talk to the Bomb.” In general, the band’s second album is less inviting than the first — though the scuzzier, less melodic sound does offer a showcase for drummer Aaron Johnston, whose beats are tight and impressive. Brazilian Girls are always a little strange and opaque, without seeming to get too deep — it’s tempting to listen in on Sciubba’s patter of multiple languages to decode all the lyrics, but the lack of real emotion behind the delivery makes it easier to just put it on in the car, soak up the atmosphere, and appreciate the irony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10462/brazilian_girls_talk_to_la_bomb",
"authors": [
"152"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_10260": {
"type": "posts",
"id": "arts_10260",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10260",
"score": null,
"sort": [
1156965874000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1156965874,
"format": "standard",
"title": "Bandwidth Conference: Music and Technology",
"headTitle": "Bandwidth Conference: Music and Technology | KQED",
"content": "\u003cp>Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> — a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.\u003c/p>\n\u003cp>With blogs, sites such as Myspace, Flickr, Buzznet, camera-phones and video phones, forums and online chat, bands at every level of success are negotiating their images with fans. Some bands are trying to create word of mouth interest using these technological tools while others struggle to police what they feel might be threatening or damaging to their band.\u003c/p>\n\u003cp>Going beyond image, the likelihood of fans distributing music online before it’s released — or even non-commercial live performances or outtakes — means that bands have less of a say in what interested parties can listen to unless they’re willing to obsessively scan the internet searching for unauthorized music. Legal issues aside, is the ability to access music that an artist didn’t intend to be released a good or bad thing?\u003c/p>\n\u003cp>The success of the Itunes Music Store, Rhapsody, Emusic and all of the digital music services proves the point that it’s possible and feasible to distribute music online legitimately, i.e. where bands and labels make money. But do we have a right to listen to a band’s alternative takes, studio mistakes, or a live show from Pensacola, Florida in 2001?\u003c/p>\n\u003cp>Bootlegs came into being in the late 1960s largely as a result of Bob Dylan’s decision to abandon an album’s worth of new music, much of which had been circulated on vinyl acetates to DJs in the US and England by his label, Columbia Records. Those promotional albums became the basis of numerous illegal fan pressings when Dylan’s next album included none of the tracks that fans had been introduced to on the radio. There was an unmet demand for this music that was not addressed by Dylan or his label. Initially, bootlegs were risky labors of love, easily exploitable by unscrupulous profiteers looking to make quick money from big name artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bootleg business flourished throughout the ’70s and ’80s, spawning an aesthetic style that was adopted by the early punk movement with bands designing their albums and singles to look like bootlegs (a whole topic unto itself). Interestingly, the arrival of digital music, peer-to-peer networks, and increasingly tougher international copyright infringement laws has all but destroyed the bootleg business. In its place has sprung up the web-savvy music trader who, out of pure appreciation for a band, distributes obscure, unreleased or live music to other fans. Not motivated by money, these are the same people who buy that band’s albums, t-shirts, and show tickets.\u003c/p>\n\u003cp>Maybe it can all be boiled down to the same tug of war between artist and fan that’s been going on as long as the notion of popular music has been with us. An artist struggles to create and carefully maintain an idea of who they are; and fans are so personally moved they seek to obliterate all obstacles between themselves and the person responsible for the art they love. The difference is the internet and the increasing access it affords us all.\u003c/p>\n\u003cp>One of the panelists, Wayne Greene, managing partner of \u003ca href=\"http://www.everloving.com/\" target=\"offsite\" rel=\"noopener\">Everloving Records\u003c/a> a label responsible for releasing Michael Andrews’ haunting cover of “Mad World” from the \u003cb>Donnie Darko\u003c/b> soundtrack and Jack Johnson’s first album, advises his artists to conduct all business as if there’s absolute transparency — fans will sooner or later hear, see and basically know everything there is to be discovered.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As music has an increasingly intimate relationship with technology, it’s important to find ways to balance the benefits and drawbacks of technological plenitude. Technology won’t establish the rules of conduct, it’s only a means to play by them… or not. So who gets to set the rules, the artist or the fan? Our panel illuminated many issues and ideas but fell short of a solution. As an intermittent obsessive music fan and occasional music industry professional, I am hoping that a solution will arise where both sides win.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 746,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705053725,
"excerpt": "Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> -- a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Last week, I participated in The Bandwidth Conference, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled Out Of Control -- a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.",
"title": "Bandwidth Conference: Music and Technology | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bandwidth Conference: Music and Technology",
"datePublished": "2006-08-30T12:24:34-07:00",
"dateModified": "2024-01-12T02:02:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bandwidth_conference_music_and_technology",
"status": "publish",
"sticky": false,
"path": "/arts/10260/bandwidth_conference_music_and_technology",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, I participated in \u003ca href=\"http://www.bandwidthconference.com/\" target=\"offsite\" rel=\"noopener\">The Bandwidth Conference\u003c/a>, an industry-oriented two-day conference held here in San Francisco at the Regency Hotel that focused on the relationship between music and technology. I moderated a panel titled \u003cb>Out Of Control\u003c/b> — a discussion about whether a band, their label or their manager can effectively control their image in an era of technological plenitude.\u003c/p>\n\u003cp>With blogs, sites such as Myspace, Flickr, Buzznet, camera-phones and video phones, forums and online chat, bands at every level of success are negotiating their images with fans. Some bands are trying to create word of mouth interest using these technological tools while others struggle to police what they feel might be threatening or damaging to their band.\u003c/p>\n\u003cp>Going beyond image, the likelihood of fans distributing music online before it’s released — or even non-commercial live performances or outtakes — means that bands have less of a say in what interested parties can listen to unless they’re willing to obsessively scan the internet searching for unauthorized music. Legal issues aside, is the ability to access music that an artist didn’t intend to be released a good or bad thing?\u003c/p>\n\u003cp>The success of the Itunes Music Store, Rhapsody, Emusic and all of the digital music services proves the point that it’s possible and feasible to distribute music online legitimately, i.e. where bands and labels make money. But do we have a right to listen to a band’s alternative takes, studio mistakes, or a live show from Pensacola, Florida in 2001?\u003c/p>\n\u003cp>Bootlegs came into being in the late 1960s largely as a result of Bob Dylan’s decision to abandon an album’s worth of new music, much of which had been circulated on vinyl acetates to DJs in the US and England by his label, Columbia Records. Those promotional albums became the basis of numerous illegal fan pressings when Dylan’s next album included none of the tracks that fans had been introduced to on the radio. There was an unmet demand for this music that was not addressed by Dylan or his label. Initially, bootlegs were risky labors of love, easily exploitable by unscrupulous profiteers looking to make quick money from big name artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bootleg business flourished throughout the ’70s and ’80s, spawning an aesthetic style that was adopted by the early punk movement with bands designing their albums and singles to look like bootlegs (a whole topic unto itself). Interestingly, the arrival of digital music, peer-to-peer networks, and increasingly tougher international copyright infringement laws has all but destroyed the bootleg business. In its place has sprung up the web-savvy music trader who, out of pure appreciation for a band, distributes obscure, unreleased or live music to other fans. Not motivated by money, these are the same people who buy that band’s albums, t-shirts, and show tickets.\u003c/p>\n\u003cp>Maybe it can all be boiled down to the same tug of war between artist and fan that’s been going on as long as the notion of popular music has been with us. An artist struggles to create and carefully maintain an idea of who they are; and fans are so personally moved they seek to obliterate all obstacles between themselves and the person responsible for the art they love. The difference is the internet and the increasing access it affords us all.\u003c/p>\n\u003cp>One of the panelists, Wayne Greene, managing partner of \u003ca href=\"http://www.everloving.com/\" target=\"offsite\" rel=\"noopener\">Everloving Records\u003c/a> a label responsible for releasing Michael Andrews’ haunting cover of “Mad World” from the \u003cb>Donnie Darko\u003c/b> soundtrack and Jack Johnson’s first album, advises his artists to conduct all business as if there’s absolute transparency — fans will sooner or later hear, see and basically know everything there is to be discovered.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As music has an increasingly intimate relationship with technology, it’s important to find ways to balance the benefits and drawbacks of technological plenitude. Technology won’t establish the rules of conduct, it’s only a means to play by them… or not. So who gets to set the rules, the artist or the fan? Our panel illuminated many issues and ideas but fell short of a solution. As an intermittent obsessive music fan and occasional music industry professional, I am hoping that a solution will arise where both sides win.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10260/bandwidth_conference_music_and_technology",
"authors": [
"109"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9980": {
"type": "posts",
"id": "arts_9980",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9980",
"score": null,
"sort": [
1155774948000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1155774948,
"format": "standard",
"title": "Children of Nuggets",
"headTitle": "Children of Nuggets | KQED",
"content": "\u003cp>This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I’ve been wanting ever since it was released — the \u003cb>Children of Nuggets\u003c/b> box set.\u003c/p>\n\u003cp>For those of you not familiar with \u003cb>Nuggets\u003c/b>, the original was a double-LP set compiled and produced by Lenny Kaye and released in 1976, gathering the best of American garage psychedelia from 1965-1968. I wore out that set, listened to it constantly, and since acquiring it back in the early 80s, realized that my taste for 60s garage psychedelia knew no bounds. I still can’t get enough of it. At the same time I acquired that set, I was also listening to a slew of modern bands that were incorporating the vibe and feel of 60s music into their own sound, and there were little scenes of these bands all over the country, most notably the Paisley Underground bands in California and the New York/New Jersey garage scene.\u003c/p>\n\u003cp>The first \u003cb>Nuggets\u003c/b> set was eventually expanded into a 4-CD box set with a fancy booklet, which made my heart leap with joy. If this wasn’t enough, it was followed a few years later by \u003cb>Nuggets II\u003c/b>, which gathered the best of British psychedelia! Oh providence –- it was too good to be true. The British box was, and is, unbelievably great, each crazy song more tasty and colorful than the next. So when \u003cb>Children of Nuggets\u003c/b> (full title: \u003cb>Children of Nuggets: Original Artyfacts From the Second Psychedelic Era 1976-1996\u003c/b>) was released, covering the “Second Psychedelic Era” — I just had to have it. The problem was, I figured I already owned most of the records and bands that were on it, so I dragged my feet getting it. Well, I was wrong. There is so much great stuff on there that I didn’t have, and it’s like a weird time trip back to a future vision of the past. Trippy.\u003c/p>\n\u003cp>To a complete music nerd like me, the \u003cb>Children of Nuggets\u003c/b> has a scope much wider and more forgiving than I would have chosen myself. In addition to bands that were overtly 60s in sound (Rain Parade, Fleshtones, Bangles, Cramps, Three O’Clock), the producers also added a wide range of power pop, Manchester beat, and even a little Seattle grunge to the mix. According to them, any perfect underground pop song with a classic feel was fair game. I don’t know if I agree in principle, but the collection is so mind-blowingly good that I can set aside my Comic Book Guy-like attention to detail and just enjoy the ride.\u003c/p>\n\u003cp>The box kicks off with the Dukes of Stratosphear’s “Vanishing Girl.” The Dukes were the alter-ego of XTC, who released two deliciously retro albums under that moniker. The song is joyous, full-bodied, and sets the stage for 100 tracks of sheer post-vintage bliss. Rounding second is one of the greatest singles ever made, “Help You Ann,” by the Lyres. I would say it’s worth it to own this set just for that one song, especially since my own 45 of it melted in the sun in the back room of my first SF apartment on 18th Street. No one has ever timed a song to their delay pedal better than this little slice of garage crunch. Next up: “The Real World” by the Bangles, a goosebump-inducing janglethon, back when they were still just a groovy girl band from LA, before they got all Princed-up. And that’s just the first three tracks!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The box includes songs from the Dream Syndicate, Posies, Soft Boys. Flamin’ Groovies, Smithereens, Plimsouls, and two absolutely killer tracks from the Hoodoo Gurus. Remember them? I didn’t until I heard those songs again. As the producers say in their voluminous book that accompanies the set, a slot on \u003cb>Nuggets\u003c/b> is the garage band equivalent of an Oscar. If that’s the case, this is the most kick-ass Academy Awards in history.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 748,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705053737,
"excerpt": "This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I've been wanting ever since it was released -- the \u003cb>Children of Nuggets\u003c/b> box set. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I've been wanting ever since it was released -- the Children of Nuggets box set. ",
"title": "Children of Nuggets | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Children of Nuggets",
"datePublished": "2006-08-16T17:35:48-07:00",
"dateModified": "2024-01-12T02:02:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "children_of_nuggets",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/9980/children_of_nuggets",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year my birthday came and went without much fanfare. Having to spend it in the suburbs of Los Angeles, it included Go-Karts, Bumper Boats, and a dinner at Outback Steakhouse which concluded with the fantastic Thunder from Down Under dessert. While dribbling through the chocolate sauce, brownie, ice cream, and whatever other gooey substance was involved, my hubby gave me something I’ve been wanting ever since it was released — the \u003cb>Children of Nuggets\u003c/b> box set.\u003c/p>\n\u003cp>For those of you not familiar with \u003cb>Nuggets\u003c/b>, the original was a double-LP set compiled and produced by Lenny Kaye and released in 1976, gathering the best of American garage psychedelia from 1965-1968. I wore out that set, listened to it constantly, and since acquiring it back in the early 80s, realized that my taste for 60s garage psychedelia knew no bounds. I still can’t get enough of it. At the same time I acquired that set, I was also listening to a slew of modern bands that were incorporating the vibe and feel of 60s music into their own sound, and there were little scenes of these bands all over the country, most notably the Paisley Underground bands in California and the New York/New Jersey garage scene.\u003c/p>\n\u003cp>The first \u003cb>Nuggets\u003c/b> set was eventually expanded into a 4-CD box set with a fancy booklet, which made my heart leap with joy. If this wasn’t enough, it was followed a few years later by \u003cb>Nuggets II\u003c/b>, which gathered the best of British psychedelia! Oh providence –- it was too good to be true. The British box was, and is, unbelievably great, each crazy song more tasty and colorful than the next. So when \u003cb>Children of Nuggets\u003c/b> (full title: \u003cb>Children of Nuggets: Original Artyfacts From the Second Psychedelic Era 1976-1996\u003c/b>) was released, covering the “Second Psychedelic Era” — I just had to have it. The problem was, I figured I already owned most of the records and bands that were on it, so I dragged my feet getting it. Well, I was wrong. There is so much great stuff on there that I didn’t have, and it’s like a weird time trip back to a future vision of the past. Trippy.\u003c/p>\n\u003cp>To a complete music nerd like me, the \u003cb>Children of Nuggets\u003c/b> has a scope much wider and more forgiving than I would have chosen myself. In addition to bands that were overtly 60s in sound (Rain Parade, Fleshtones, Bangles, Cramps, Three O’Clock), the producers also added a wide range of power pop, Manchester beat, and even a little Seattle grunge to the mix. According to them, any perfect underground pop song with a classic feel was fair game. I don’t know if I agree in principle, but the collection is so mind-blowingly good that I can set aside my Comic Book Guy-like attention to detail and just enjoy the ride.\u003c/p>\n\u003cp>The box kicks off with the Dukes of Stratosphear’s “Vanishing Girl.” The Dukes were the alter-ego of XTC, who released two deliciously retro albums under that moniker. The song is joyous, full-bodied, and sets the stage for 100 tracks of sheer post-vintage bliss. Rounding second is one of the greatest singles ever made, “Help You Ann,” by the Lyres. I would say it’s worth it to own this set just for that one song, especially since my own 45 of it melted in the sun in the back room of my first SF apartment on 18th Street. No one has ever timed a song to their delay pedal better than this little slice of garage crunch. Next up: “The Real World” by the Bangles, a goosebump-inducing janglethon, back when they were still just a groovy girl band from LA, before they got all Princed-up. And that’s just the first three tracks!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The box includes songs from the Dream Syndicate, Posies, Soft Boys. Flamin’ Groovies, Smithereens, Plimsouls, and two absolutely killer tracks from the Hoodoo Gurus. Remember them? I didn’t until I heard those songs again. As the producers say in their voluminous book that accompanies the set, a slot on \u003cb>Nuggets\u003c/b> is the garage band equivalent of an Oscar. If that’s the case, this is the most kick-ass Academy Awards in history.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9980/children_of_nuggets",
"authors": [
"169"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9920": {
"type": "posts",
"id": "arts_9920",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9920",
"score": null,
"sort": [
1155599189000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1155599189,
"format": "standard",
"title": "Into You Like - Uh - Train?",
"headTitle": "Into You Like – Uh – Train? | KQED",
"content": "\u003cp>We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes.\u003c/p>\n\u003cp>So even when I moved back to SF at the height of the dot-com phenomenon and tried to rent an apartment in the Mission while dot.commies pushed past me, offering the landlord double the asking price (remember those days?), I still clung to my first impression of the city as a haven for interesting oddballs. I suppose others who moved here to get rich in the late nineties just saw the place as a pricey exurb of San Jose with older housing stock. I feel sorry for them.\u003c/p>\n\u003cp> Which brings us to the Train show at the Greek next week. The rock band known as Train formed in San Francisco in 1994. This, and the fact that their song, “Free,” was featured on the San Francisco-based TV series \u003cb>Party of Five\u003c/b>, apparently legitimizes them as a “San Francisco band.” Remember how realistic \u003cb>Party of Five\u003c/b> was, with its passel of cute Salinger kids living in a gorgeous Victorian mansion and paying for it all with the proceeds from their neighborhood restaurant? Please. In this food-frenzied town, an ersatz bistro like Salinger’s would be gone faster than you can say “tell me the difference between a raw food restaurant and the bulk nut aisle at Rainbow Grocery.” And that’s about how well Train represents San Francisco — my San Francisco, at least.\u003c/p>\n\u003cp> Train does that kind of big-production, I-really-mean-it middlebrow rock that pads the playlists of WB shows everywhere. Let me say that I believe there is a place for big-production, I-really-mean-it music — if it’s done right (see: “Rocket Man,” “Total Eclipse of the Heart,” “We Will Rock You,” etc.). But when it’s done wrong…\u003c/p>\n\u003cp>If you’re going to sing your heart out, you probably want to avoid lyrics that are just plain silly. And Train is great at ridiculous, dumbass lyrics that are so inane, they pull you right out of the experience of listening to the song and make you think: “what the hell?” I’ll always remember the day when, approaching the Bay Bridge Toll Plaza at full speed, I heard the following phrase bellowing from lead singer Patrick Monahan’s lungs: \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Can you imagine no love, pride, deep-fried chicken\u003cbr>Your best friend always sticking up for you even when you know you’re wrong\u003cbr>Can you imagine no first dance, freeze dried romance five-hour phoneconversation\u003cbr>The best soy latte that you ever had . . . and me.\u003c/p>\n\u003cp>I nearly crashed into the toll booth. I might accept the combination of “love,” “pride,” and “deep fried chicken” in one sentence if it were written by Hunter S. Thompson, but sung, apparently without irony, at full volume with an entire string section sawing away in the background? Just like raw food, it makes my tummy feel yucky.\u003c/p>\n\u003cp> And then the rest of the verse, with its “freeze dried romance”… well, it all pales in comparison to that final zinger: “the best soy latte that you ever had … and me.” Let me be the first to say that the phrase “soy latte” should never under any circumstances appear in a song lyric, unless that lyric is written and sung by Weird Al Yankovic. How Train makes me long for the music of Weird Al Yankovic. Anyway, the song, “Drops of Jupiter,” includes several other lyrical disasters, including “She checks out Mozart while she does Tae-Bo.” No witty quip can do justice to that.\u003c/p>\n\u003cp> There are some basic ground rules that all songwriters should (and usually do) follow. I think we all learned a lesson from Wang Chung about never putting one’s own band name in one’s own song (remember “Everybody Wang Chung Tonight?” A less meaningful command has never been uttered.) That’s Rule Number 1.\u003c/p>\n\u003cp> Number 2 is never succumbing to the temptation of shouting out the year your song was recorded, unless you are Prince and you are recording “1999.” But that’s the only exception. Even great bands have made this mistake; remember The Pharcyde’s groovy song, “Runnin’?” It’s so smooth, so chill, until you hear “But now in ’95, I must survive…” and then you think: no, it’s 2006. Damn, this song is old. Which means I’m old. Damn! I’m pretty sure that’s not the response The Pharcyde was hoping for. And Public Enemy’s “Fight the Power” begins with a date-check: “1989 the number, another summer…” Only a band of PE’s brilliance could start with a mistake like that and make you forget it by the end of the song. But Train, you’re no Public Enemy.\u003c/p>\n\u003cp> <p Which brings us to Rule Number 3, a rule tangentially related to Number 2. Yes, good writing includes specific details. But when looking for details to include, avoid references that are so trendy, so blatantly stamped with a sell-by date, that this time next year no one will know what you're talking about and/or they will simply find it lame. Examples? Oh, how about SOY LATTES and TAE-BO, for instance???\u003c/p>\n\u003cp> The tragic element here is that Train’s songs are often catchy and even charming, with unusual song structures and good arrangements. And yes, Patrick Monahan can sing. But sing what? That’s the problem.\u003c/p>\n\u003cp>These days, Train is a multi-platinum band, which means it has reached the mainstream and is floating comfortably there. Nothing wrong with the mainstream, but is this the kind of band that best represents San Francisco? Well, I just checked craigslist, and the cheapest apartment in the Mission today is $1600 for a 1BR with almost enough space for you and your iPod. So who knows? Maybe Train really is an exemplary SF band: overpriced and clinging desperately to a bohemian image that no longer applies. Oh, Ms. Soo Ying, where are you when we need you?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> Train is playing at the Greek Theater in Berkeley on Saturday, August 26. Tickets are $38.50 — or about ten soy lattes, including tax.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1195,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705053742,
"excerpt": "We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes. ",
"title": "Into You Like - Uh - Train? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Into You Like - Uh - Train?",
"datePublished": "2006-08-14T16:46:29-07:00",
"dateModified": "2024-01-12T02:02:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "into_you_like__uh__train",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-popculture/",
"sticky": false,
"path": "/arts/9920/into_you_like__uh__train",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all have our own San Franciscos. I first moved to the city in the mid-1970s and attended elementary school in Precita Park, where my first grade teacher, the gorgeous Ms. Soo Ying, had a pierced nose, several butterfly tattoos, and a boyfriend named Babatunde who taught us to count to 100 in Swahili. My mom worked at Emporium Capwell and hung out with a group of writers and underground comic artists whose apartments were filled with smoke, conversation, and strange music. All of this left a permanent impression on me of a city that was a funky home to bohemian weirdos of all stripes.\u003c/p>\n\u003cp>So even when I moved back to SF at the height of the dot-com phenomenon and tried to rent an apartment in the Mission while dot.commies pushed past me, offering the landlord double the asking price (remember those days?), I still clung to my first impression of the city as a haven for interesting oddballs. I suppose others who moved here to get rich in the late nineties just saw the place as a pricey exurb of San Jose with older housing stock. I feel sorry for them.\u003c/p>\n\u003cp> Which brings us to the Train show at the Greek next week. The rock band known as Train formed in San Francisco in 1994. This, and the fact that their song, “Free,” was featured on the San Francisco-based TV series \u003cb>Party of Five\u003c/b>, apparently legitimizes them as a “San Francisco band.” Remember how realistic \u003cb>Party of Five\u003c/b> was, with its passel of cute Salinger kids living in a gorgeous Victorian mansion and paying for it all with the proceeds from their neighborhood restaurant? Please. In this food-frenzied town, an ersatz bistro like Salinger’s would be gone faster than you can say “tell me the difference between a raw food restaurant and the bulk nut aisle at Rainbow Grocery.” And that’s about how well Train represents San Francisco — my San Francisco, at least.\u003c/p>\n\u003cp> Train does that kind of big-production, I-really-mean-it middlebrow rock that pads the playlists of WB shows everywhere. Let me say that I believe there is a place for big-production, I-really-mean-it music — if it’s done right (see: “Rocket Man,” “Total Eclipse of the Heart,” “We Will Rock You,” etc.). But when it’s done wrong…\u003c/p>\n\u003cp>If you’re going to sing your heart out, you probably want to avoid lyrics that are just plain silly. And Train is great at ridiculous, dumbass lyrics that are so inane, they pull you right out of the experience of listening to the song and make you think: “what the hell?” I’ll always remember the day when, approaching the Bay Bridge Toll Plaza at full speed, I heard the following phrase bellowing from lead singer Patrick Monahan’s lungs: \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Can you imagine no love, pride, deep-fried chicken\u003cbr>Your best friend always sticking up for you even when you know you’re wrong\u003cbr>Can you imagine no first dance, freeze dried romance five-hour phoneconversation\u003cbr>The best soy latte that you ever had . . . and me.\u003c/p>\n\u003cp>I nearly crashed into the toll booth. I might accept the combination of “love,” “pride,” and “deep fried chicken” in one sentence if it were written by Hunter S. Thompson, but sung, apparently without irony, at full volume with an entire string section sawing away in the background? Just like raw food, it makes my tummy feel yucky.\u003c/p>\n\u003cp> And then the rest of the verse, with its “freeze dried romance”… well, it all pales in comparison to that final zinger: “the best soy latte that you ever had … and me.” Let me be the first to say that the phrase “soy latte” should never under any circumstances appear in a song lyric, unless that lyric is written and sung by Weird Al Yankovic. How Train makes me long for the music of Weird Al Yankovic. Anyway, the song, “Drops of Jupiter,” includes several other lyrical disasters, including “She checks out Mozart while she does Tae-Bo.” No witty quip can do justice to that.\u003c/p>\n\u003cp> There are some basic ground rules that all songwriters should (and usually do) follow. I think we all learned a lesson from Wang Chung about never putting one’s own band name in one’s own song (remember “Everybody Wang Chung Tonight?” A less meaningful command has never been uttered.) That’s Rule Number 1.\u003c/p>\n\u003cp> Number 2 is never succumbing to the temptation of shouting out the year your song was recorded, unless you are Prince and you are recording “1999.” But that’s the only exception. Even great bands have made this mistake; remember The Pharcyde’s groovy song, “Runnin’?” It’s so smooth, so chill, until you hear “But now in ’95, I must survive…” and then you think: no, it’s 2006. Damn, this song is old. Which means I’m old. Damn! I’m pretty sure that’s not the response The Pharcyde was hoping for. And Public Enemy’s “Fight the Power” begins with a date-check: “1989 the number, another summer…” Only a band of PE’s brilliance could start with a mistake like that and make you forget it by the end of the song. But Train, you’re no Public Enemy.\u003c/p>\n\u003cp> <p Which brings us to Rule Number 3, a rule tangentially related to Number 2. Yes, good writing includes specific details. But when looking for details to include, avoid references that are so trendy, so blatantly stamped with a sell-by date, that this time next year no one will know what you're talking about and/or they will simply find it lame. Examples? Oh, how about SOY LATTES and TAE-BO, for instance???\u003c/p>\n\u003cp> The tragic element here is that Train’s songs are often catchy and even charming, with unusual song structures and good arrangements. And yes, Patrick Monahan can sing. But sing what? That’s the problem.\u003c/p>\n\u003cp>These days, Train is a multi-platinum band, which means it has reached the mainstream and is floating comfortably there. Nothing wrong with the mainstream, but is this the kind of band that best represents San Francisco? Well, I just checked craigslist, and the cheapest apartment in the Mission today is $1600 for a 1BR with almost enough space for you and your iPod. So who knows? Maybe Train really is an exemplary SF band: overpriced and clinging desperately to a bohemian image that no longer applies. Oh, Ms. Soo Ying, where are you when we need you?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> Train is playing at the Greek Theater in Berkeley on Saturday, August 26. Tickets are $38.50 — or about ten soy lattes, including tax.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9920/into_you_like__uh__train",
"authors": [
"143"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9800": {
"type": "posts",
"id": "arts_9800",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9800",
"score": null,
"sort": [
1155247633000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1155247633,
"format": "standard",
"title": "Astronautalis: The Might Ocean & Nine Dark Theaters",
"headTitle": "Astronautalis: The Might Ocean & Nine Dark Theaters | KQED",
"content": "\u003cp>Astronautalis is often referred to as a rapper, but the description is a little misleading. The first two tracks on his second album, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b>, don’t help clarify things, either: Though rhyming is involved, the feel is more lo-fi alternative rock than Tupac. With a reedy voice, Astronautalis speak-sings about life changes and attraction… and on the third song, “Seaweed Sheets,” he picks up an old-school-sounding beat (among the instruments listed in the liner notes are “P. Diddy drums”) and his rap roots become more apparent.\u003c/p>\n\u003cp>So, let’s be clear: this isn’t hip-hop rap — it’s more like spoken-word café rap, as performed by a guy who looks more likely to be at a skate park or fraternity hazing than rocking a mic. There’s no throwing up of the hands or booty or Courvoisier, but there is plenty of beer and “bitten-lipped smiles.” Astronautalis’ work is pretty relentlessly stream-of-conscious — so much so that he lets himself get audibly winded, as if to say, “Yeah guys, it’s pretty tiring getting all these thoughts out.”\u003c/p>\n\u003cp>His rapid-fire and low-key delivery can occasionally make it hard to discern what those thoughts are, exactly, but much of it involves dreams and bed sheets and landscapes. In a neat design twist, the CD cover forms a pocket for loose “Polaroids” that illustrate each song, complete with lyrics on the back. That way you can read lyrics such as “We’ve all woken from the same glorious dream, it’s full of hope, it ain’t just wrinkled sheets and another empty bed.”\u003c/p>\n\u003cp>There’s something aurally distinctive on just about every track of this CD, which was produced by Astronautalis collaborator Radical Face. On “My Dinner with Andy,” it’s the opening beat, which sounds like it was derived from a step show, combined with lazy acoustic guitar. On “Seaweed Sheets,” it’s the way the repeated chorus starts threading in and out different lead vocals toward the end of the song. It has elements of everything from old spirituals to electronica. It is haunting, interesting and decidedly not danceable.\u003c/p>\n\u003cp>I had decided that “Skeleton” was one of my favorites on this album before realizing that its full title is “Skeleton (Everybody’s Favorite).” I guess there’s something to be said for the wisdom of crowds, because the track is indisputably tight, ominous and effective. While there’s nothing wrong with blending genres, “Skeleton” is the track that tries the least hard and accomplishes the most.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Overall, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b> may be too opaque and self-conscious for many listeners to really embrace and connect with. But its innovation and lack of shyness about blending genres should be an example to the hip-hop world, which seems to be flooded with stale conventions at this point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I am trying to be the Van Morrison of this rap shit,” Astronautalis says on his MySpace page. Hmm… would he settle for Bill Callahan from Smog?\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 561,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705053745,
"excerpt": "Astronautalis is often referred to as a rapper, but the description is a little misleading. The first two tracks on his second album, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b>, don't help clarify things, either: Though rhyming is involved, the feel is more lo-fi alternative rock than Tupac. With a reedy voice, Astronautalis speak-sings about life changes and attraction... and on the third song, \"Seaweed Sheets,\" he picks up an old-school-sounding beat (among the instruments listed in the liner notes are \"P. Diddy drums\") and his rap roots become more apparent. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Astronautalis is often referred to as a rapper, but the description is a little misleading. The first two tracks on his second album, The Might Ocean & Nine Dark Theaters, don't help clarify things, either: Though rhyming is involved, the feel is more lo-fi alternative rock than Tupac. With a reedy voice, Astronautalis speak-sings about life changes and attraction... and on the third song, "Seaweed Sheets," he picks up an old-school-sounding beat (among the instruments listed in the liner notes are "P. Diddy drums") and his rap roots become more apparent. ",
"title": "Astronautalis: The Might Ocean & Nine Dark Theaters | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Astronautalis: The Might Ocean & Nine Dark Theaters",
"datePublished": "2006-08-10T15:07:13-07:00",
"dateModified": "2024-01-12T02:02:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "astronautalis_the_might_ocean__nine_dark_theaters",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/9800/astronautalis_the_might_ocean__nine_dark_theaters",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Astronautalis is often referred to as a rapper, but the description is a little misleading. The first two tracks on his second album, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b>, don’t help clarify things, either: Though rhyming is involved, the feel is more lo-fi alternative rock than Tupac. With a reedy voice, Astronautalis speak-sings about life changes and attraction… and on the third song, “Seaweed Sheets,” he picks up an old-school-sounding beat (among the instruments listed in the liner notes are “P. Diddy drums”) and his rap roots become more apparent.\u003c/p>\n\u003cp>So, let’s be clear: this isn’t hip-hop rap — it’s more like spoken-word café rap, as performed by a guy who looks more likely to be at a skate park or fraternity hazing than rocking a mic. There’s no throwing up of the hands or booty or Courvoisier, but there is plenty of beer and “bitten-lipped smiles.” Astronautalis’ work is pretty relentlessly stream-of-conscious — so much so that he lets himself get audibly winded, as if to say, “Yeah guys, it’s pretty tiring getting all these thoughts out.”\u003c/p>\n\u003cp>His rapid-fire and low-key delivery can occasionally make it hard to discern what those thoughts are, exactly, but much of it involves dreams and bed sheets and landscapes. In a neat design twist, the CD cover forms a pocket for loose “Polaroids” that illustrate each song, complete with lyrics on the back. That way you can read lyrics such as “We’ve all woken from the same glorious dream, it’s full of hope, it ain’t just wrinkled sheets and another empty bed.”\u003c/p>\n\u003cp>There’s something aurally distinctive on just about every track of this CD, which was produced by Astronautalis collaborator Radical Face. On “My Dinner with Andy,” it’s the opening beat, which sounds like it was derived from a step show, combined with lazy acoustic guitar. On “Seaweed Sheets,” it’s the way the repeated chorus starts threading in and out different lead vocals toward the end of the song. It has elements of everything from old spirituals to electronica. It is haunting, interesting and decidedly not danceable.\u003c/p>\n\u003cp>I had decided that “Skeleton” was one of my favorites on this album before realizing that its full title is “Skeleton (Everybody’s Favorite).” I guess there’s something to be said for the wisdom of crowds, because the track is indisputably tight, ominous and effective. While there’s nothing wrong with blending genres, “Skeleton” is the track that tries the least hard and accomplishes the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Overall, \u003cb>The Might Ocean & Nine Dark Theaters\u003c/b> may be too opaque and self-conscious for many listeners to really embrace and connect with. But its innovation and lack of shyness about blending genres should be an example to the hip-hop world, which seems to be flooded with stale conventions at this point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I am trying to be the Van Morrison of this rap shit,” Astronautalis says on his MySpace page. Hmm… would he settle for Bill Callahan from Smog?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9800/astronautalis_the_might_ocean__nine_dark_theaters",
"authors": [
"12"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9641": {
"type": "posts",
"id": "arts_9641",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9641",
"score": null,
"sort": [
1155064838000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1155064838,
"format": "standard",
"title": "Scissors for Lefty",
"headTitle": "Scissors for Lefty | KQED",
"content": "\u003cp>Lately, thanks to the internet, a significant portion of my listening is dedicated to filling out holes in my musical memory. I can while away hours on sites like \u003ca href=\"http://pandora.com/\">Pandora.com\u003c/a>, which utilizes music genome research to create customizable stations based around an artist’s output or even one song. I enjoy trying to stump Pandora’s archive by entering in forgotten bands and songs, like Silver’s satisfyingly cheesy 1976 single “Musician (It’s Not An Easy Life)” and seeing what is offered up for me to listen to. Blogs and iTunes Music Store’s increasingly comprehensive catalog of music are as great for audio archaeology as for discovering new music.\u003c/p>\n\u003cp>“What was that song I remember from when I was a kid that had lyrics about love being the answer?”\u003c/p>\n\u003cp>“Ohhhh, it was England Dan and John Ford Coley!”\u003c/p>\n\u003cp>One is just as apt to find me happily bopping my head to “Time Passages” by Al Stewart as to locals Scissors For Lefty’s new single “Ghetto Ways,” just released on seminal UK label, Rough Trade, also responsible for introducing the world to The Smiths and The Strokes. I like to think that this fact alone sets me apart from almost all other Al Stewart fans as well as most Scissors For Lefty fans. And depending on your perspective, it could make me seem interestingly eclectic or alternately like some kind of musical weirdo.\u003c/p>\n\u003cp>By the way, “Ghetto Ways” is a good single that pleases after a The Killers and Hot Hot Heat fashion — meaning it’s heavy on the synth with proto-disco drums and slinky vocals that reinforce the catchy chorus riff. I prefer the two b-sides included on the CD single, available on import I’m sure at Amoeba, “Save It Cory” and “Marsha.” They’re both playful takes on dance rock with accordion-like keyboard lines, bouncing rhythms and cloying but clever vocals, all adding up to something that sounds like Pulp’s Jarvis Cocker sitting in with The Style Council, the Paul Weller band formed after mod punk heroes The Jam broke up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Made up of two sets of brothers, one Garza and the other Krimmel, Scissors For Lefty formed in San Luis Obispo, CA before relocating to San Francisco where currently they work their “asses off, and burn the candle from all angles, in order to afford living in this contagious city,” according to the band’s official biography. This month SFL head out on the road in the US with ex-Libertines Carl Barat’s new band, Dirty Pretty Things. Then they’re off to England for an extensive tour that covers a number of festivals including summer bank holiday weekend favorites Reading and Leeds, notable launching points for new bands hoping to capture fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows if Scissors For Lefty will catch on in the UK, but the fact that they’re signed to an important label like Rough Trade is another merit badge earned by San Francisco’s current pack of up and coming groups. They’re all doing their part to justify the city’s emerging spot on the music map alongside Seattle and more recently New York.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 569,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705053749,
"excerpt": "Lately, thanks to the internet, a significant portion of my listening is dedicated to filling out holes in my musical memory. I can while away hours on sites like \u003ca href=\"http://pandora.com/\">Pandora.com\u003c/a>, which utilizes music genome research to create customizable stations based around an artist's output or even one song. I enjoy trying to stump Pandora's archive by entering in forgotten bands and songs, like Silver's satisfyingly cheesy 1976 single \"Musician (It's Not An Easy Life)\" and seeing what is offered up for me to listen to. Blogs and iTunes Music Store's increasingly comprehensive catalog of music are as great for audio archaeology as for discovering new music.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lately, thanks to the internet, a significant portion of my listening is dedicated to filling out holes in my musical memory. I can while away hours on sites like Pandora.com, which utilizes music genome research to create customizable stations based around an artist's output or even one song. I enjoy trying to stump Pandora's archive by entering in forgotten bands and songs, like Silver's satisfyingly cheesy 1976 single "Musician (It's Not An Easy Life)" and seeing what is offered up for me to listen to. Blogs and iTunes Music Store's increasingly comprehensive catalog of music are as great for audio archaeology as for discovering new music.",
"title": "Scissors for Lefty | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Scissors for Lefty",
"datePublished": "2006-08-08T12:20:38-07:00",
"dateModified": "2024-01-12T02:02:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "scissors_for_lefty",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"nprByline": "Christopher Appelgren",
"sticky": false,
"path": "/arts/9641/scissors_for_lefty",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lately, thanks to the internet, a significant portion of my listening is dedicated to filling out holes in my musical memory. I can while away hours on sites like \u003ca href=\"http://pandora.com/\">Pandora.com\u003c/a>, which utilizes music genome research to create customizable stations based around an artist’s output or even one song. I enjoy trying to stump Pandora’s archive by entering in forgotten bands and songs, like Silver’s satisfyingly cheesy 1976 single “Musician (It’s Not An Easy Life)” and seeing what is offered up for me to listen to. Blogs and iTunes Music Store’s increasingly comprehensive catalog of music are as great for audio archaeology as for discovering new music.\u003c/p>\n\u003cp>“What was that song I remember from when I was a kid that had lyrics about love being the answer?”\u003c/p>\n\u003cp>“Ohhhh, it was England Dan and John Ford Coley!”\u003c/p>\n\u003cp>One is just as apt to find me happily bopping my head to “Time Passages” by Al Stewart as to locals Scissors For Lefty’s new single “Ghetto Ways,” just released on seminal UK label, Rough Trade, also responsible for introducing the world to The Smiths and The Strokes. I like to think that this fact alone sets me apart from almost all other Al Stewart fans as well as most Scissors For Lefty fans. And depending on your perspective, it could make me seem interestingly eclectic or alternately like some kind of musical weirdo.\u003c/p>\n\u003cp>By the way, “Ghetto Ways” is a good single that pleases after a The Killers and Hot Hot Heat fashion — meaning it’s heavy on the synth with proto-disco drums and slinky vocals that reinforce the catchy chorus riff. I prefer the two b-sides included on the CD single, available on import I’m sure at Amoeba, “Save It Cory” and “Marsha.” They’re both playful takes on dance rock with accordion-like keyboard lines, bouncing rhythms and cloying but clever vocals, all adding up to something that sounds like Pulp’s Jarvis Cocker sitting in with The Style Council, the Paul Weller band formed after mod punk heroes The Jam broke up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Made up of two sets of brothers, one Garza and the other Krimmel, Scissors For Lefty formed in San Luis Obispo, CA before relocating to San Francisco where currently they work their “asses off, and burn the candle from all angles, in order to afford living in this contagious city,” according to the band’s official biography. This month SFL head out on the road in the US with ex-Libertines Carl Barat’s new band, Dirty Pretty Things. Then they’re off to England for an extensive tour that covers a number of festivals including summer bank holiday weekend favorites Reading and Leeds, notable launching points for new bands hoping to capture fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows if Scissors For Lefty will catch on in the UK, but the fact that they’re signed to an important label like Rough Trade is another merit badge earned by San Francisco’s current pack of up and coming groups. They’re all doing their part to justify the city’s emerging spot on the music map alongside Seattle and more recently New York.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9641/scissors_for_lefty",
"authors": [
"byline_arts_9641"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9440": {
"type": "posts",
"id": "arts_9440",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9440",
"score": null,
"sort": [
1154546632000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1154546632,
"format": "standard",
"title": "Brightblack Morning Light at the Troubadour",
"headTitle": "Brightblack Morning Light at the Troubadour | KQED",
"content": "\u003cp>\u003cb>A Perfect Night in LA\u003c/b>\u003cbr>\nWho knows when you’re going to have the perfect night? I can tell you one thing, it can only be possible after your expectations have been lowered considerably. Take this particular perfect night in LA, for example. When we first got down here (we live in LA for a month every summer), I was all gung-ho to make an evening of going to see Brightblack Morning Light at the Troubadour, followed by staying over at a hotel somewhere in Hollywood. With a pool! And cocktails! Well, as the day drew closer, this shining beacon of nightlife started to fade to a dull twinkle as we slogged through the intense heat wave, my husband Danny’s work schedule here at Cal Arts where he is teaching summer school, and my exhaustion spending every day taking our kid to the public pool in 105 degree heat. We had been lucky most nights to split a beer and play a lackluster game of Scrabble before hitting our airbed at 10pm. How were we going to manage a night on the town? Ugh!\u003c/p>\n\u003cp>Even with the prospect of a babysitter (several of the teachers here are wild about Henry, or maybe they’re just broke) we couldn’t see spending $200 on a hotel, so I canceled that reservation. We still had the show tickets, though, since I bought them on Ticketmaster. I toyed with giving them away free on Craigslist, but just couldn’t throw in the towel just yet. Since we had missed the sold out Flaming Lips at the Hollywood Bowl, which my friends will never forgive me for since they all saw them up north and swore it was a religious experience, I felt like we had to at least try to go out and have some rock ‘n roll fun. So as the night approached, we steeled our resolve to just go out and do it.\u003c/p>\n\u003cp>That morning Danny was seriously dragging. It didn’t look good. We took our kid to a matinee of \u003cb>Monster House\u003c/b>, which was insanely scary for a five-year-old, and made us wary about then leaving him with a sitter in case he might be plagued with nightmares. But when our sitter Lee showed up, a fun-loving twentysomething indie filmmaker and trickster, Henry was so psyched to see him that they immediately took off to go have some wacky adventures, leaving Danny and I with nothing else to do but go out! We decided we were going to hit a movie first, so as not to have to stand around in a rock club for any more time than necessary, and to miss all opening acts if at all possible.\u003c/p>\n\u003cp>We headed for the Arclight to see \u003cb>Little Miss Sunshine\u003c/b> on opening night. Without advance tickets. Of course it was sold out, but boy, that Arclight is cool! So we stood around in the super moderne lobby trying to figure out which movie we should see, and based our choice strictly on start time, since we wanted enough time to grab something to eat. The best-timed movie that we could stomach was \u003cb>Clerks II\u003c/b>. So we bought our tickets (reserved seats!) and then headed to the café/bar in the lobby for some cocktails and food. As we were sipping our lemon drops and waiting for our food, we checked out the crowd. I noticed something interesting about straight men in LA — they all look gay! If any of these supposedly straight men, who seemed to me to be overly PDA-ing with their glamazon dates, walked down the street in San Francisco you would never guess in a million years he was straight. Weird. Perfectly gelled hair, super mod clothes, spray tans and nice shoes. I was perplexed and entertained by this anthropological discovery. But regardless, the people watching in LA is really unsurpassed. Good lookin’ specimens everywhere, and they all seem important in some way. You don’t know why, you don’t know how, but they are making shit happen in ways you can only venture to guess. Even the waiters at the Arclight were fab, including one who looked like a cross between Nick Cave and Dave Grohl — rowr!\u003c/p>\n\u003cp>There was a famous actress a few tables away, whose name I still have not been able to recall. I recognized her immediately, have seen her in magazines, she does movies and TV, she’s young, blonde, cute etc. One of these days I will see her picture and be like –duh! But for now, her agent is cursing the fact that she doesn’t elicit instant name recognition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After copping a buzz off our drinks and with full tummies, we bopped down to our fancypants theater to watch \u003cb>Clerks II\u003c/b>. Our expectations were waaaay low, since we both saw \u003cb>Clerks\u003c/b> but had no real recollection of it. Well, let me tell you \u003cb>Clerks II\u003c/b> is funny! Albeit in an absolutely crude, adolescent, gross, pathetic way, but we laughed, we really did. It had its moments, and actually was made with some kind of real heart and soul behind it. These dudes who made the first one, Kevin Smith and his buddies, made the sequel just to satisfy themselves and each other, and all the fans who have championed it over the years, and it works somehow. There are some great jokes, including a gut-busting tirade against \u003cb>Lord of the Rings\u003c/b> complete with re-enactment, and some endearing performances from the losers who can’t grow up. Their venue has moved from the Quick Stop to Mooby’s burgers, but they are still just killing time in Jersey. We came out of there feeling proud that we had chosen \u003cb>Clerks II\u003c/b> over \u003cb>My Super Ex-Girlfriend\u003c/b> and the universally panned \u003cb>The Lady in the Water\u003c/b>. We chose wisely. Step one to a perfect night — choose well, but don’t overthink.\u003c/p>\n\u003cp>Next stop, the Troubadour. As we cruised up Santa Monica Blvd., we saw the line of Paris Hilton and Nick Lachey wannabees, complete with valets, cops, and lines of shiny cars. What could this be, pray tell? Only Lobby, the hottest celeb club in LA! And it happens to be right next door to the seedy Troubadour. Well what luck. Seeing as we were going to see a smelly band of pseudo-hippies, it seemed only fitting we should be next door to such a glittering spectacle. Mommy is happy — hooray!\u003c/p>\n\u003cp>We walked into the club just as Brightblack Morning Light were starting up, perfect timing. It was mellow, not too crowded, and we found a comfy place right at the side of the stage to take in the vibe. Brightblack Morning Light are definitely part of the nouveau hippie scene I have waxed so eloquently upon in past posts. Their CD comes with rainbow prism glasses printed with marijuana leaves, for chrissake. But where most of those bands base their sound on a strumming or plucking acoustic guitar, Brightblack are of a darker, moodier groove, emanating from a vintage Fender Rhodes played by a cool chick in aviator sunglasses. Over to her left we have the dude in the poncho, greasy dreadlocks covering his face, with two white feathers sticking up from his mike stand, and he appears to be playing guitar. I believe his last name to be Shineywater. There are two drummers, flanking either side of the stage, with unconventional drum kits, one wearing flip-flops and one looking kinda like Gene Wilder. Oh yeah, and there are petrified logs along the front of the stage.\u003c/p>\n\u003cp>The music is trancelike, it’s deep, it’s a little boring but pretty cool. They bring up a friend, a cute girl in a vintage Live Aid t-shirt, ostensibly to sing with them. She stands at the mike, playing with her hair for what seems like an eternity until she finally moans something along with them. All is going as well as can be expected, and Danny and I are happy sipping our Coronas and chilling out, when there seems to be some kind of feedback happening. At first it’s hard to tell, since everything is drenched in all kinds of delay and reverb and nonsense. Suddenly, the poncho dude rips off said poncho in a fit of pique, starts ripping wires out of his guitar, and runs up to the front of the stage yelling “Fuck LA!” and storms off! Wha? Isn’t this the band that camps in the woods between shows and wants to save the spotted owl? Heaven forefend! Poncho Dude storms out the back door of the club, while a meaty bouncer stands guard as the door slams behind him. Two seconds later we hear a contrite little ‘tap tap tap’ at the door and the bouncer lets Poncho Dude back in, who proceeds to storm upstairs in search of the soundman. Meanwhile onstage, the ladies have decided to take back the night, and start rocking out way harder than they ever did with Poncho Dude onstage. You go, girls! The soundman looks down at me and Danny from the booth, and I say, “Hey, you better watch out — he’s coming to get you!” He just laughs and says “They were four hours late!” Poncho Dude has it out with him, then we hear some yelling and scuffling, and bottles being thrown. Someone tries to subdue Poncho Dude in the dressing room, which is a glass booth visible to the entire club. Only in LA! Hi-larious.\u003c/p>\n\u003cp>So the ladies keep on rocking out a couple more grooves, then the keyboard chick in the aviator glasses mumbles an apology through the layers of reverb and that’s the end of that. Well, Danny and I are mighty pleased with ourselves for having witnessed such an Altamont-lite ending to the freak folk love-in. We amble out onto the street, walking right into the fray of Hollywood foxes and foxettes waiting desperately to be deemed worthy enough to party with the likes of Lindsay Lohan inside the hallowed booths of Lobby. I beg Danny to indulge me — can we just walk past the line and back around the block and check out the action? Since the line is so thick along the sidewalk, there is nowhere to walk but the street in front. As I step one toe off the curb — BAM! There’s a car crash right in front of me. A valet, driving a shiny silver Mercedes, veers right to the club entrance from the middle lane, cutting off another car coming up in the right hand lane. It’s a hideous crunch and clatter. I jump back onto the curb and we marvel at the weirdness of it all when I hear “Hey, Alison.” What now?\u003c/p>\n\u003cp>It’s my old friend Jeff Palmer, bass player extraordinaire, who now plays with the fantastic band the Radar Brothers. He lives in LA now, but used to be a fixture in the SF music scene. He’s a genius musician, and an adorable, sweet guy. So we all chat for like a half hour, catching up, musing on LA and its serendipitous nature, and laughing. We watch the endless parade of tanned, leggy blonds and beefy jock actors hop in and out of Escalades in front of Lobby. It’s a nice moment, and feels like it’s a show just for us. Making the scene but not making it at all. Just hanging. The world has gotten a little more cozy since I hit forty, and maybe that’s kind of a cool thing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On the way home, to top off such a funny night, we had to do the proper LA thing and get In ‘N Out Burger drive-through. God, yum. Just super yum. We showed up at 2 a.m. with fries and a shake for Lee, who was like “Man, you guys read my mind. I was starving!” A perfect night, indeed.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2060,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705053754,
"excerpt": "\u003cb>A Perfect Night in LA\u003c/b>\u003cbr />Who knows when you're going to have the perfect night? I can tell you one thing, it can only be possible after your expectations have been lowered considerably. Take this particular perfect night in LA, for example. When we first got down here (we live in LA for a month every summer), I was all gung-ho to make an evening of going to see Brightblack Morning Light at the Troubadour, followed by staying over at a hotel somewhere in Hollywood. With a pool! And cocktails! Well, as the day drew closer, this shining beacon of nightlife started to fade to a dull twinkle as we slogged through the intense heat wave, my husband Danny's work schedule here at Cal Arts where he is teaching summer school, and my exhaustion spending every day taking our kid to the public pool in 105 degree heat. We had been lucky most nights to split a beer and play a lackluster game of Scrabble before hitting our airbed at 10pm. How were we going to manage a night on the town? Ugh!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A Perfect Night in LAWho knows when you're going to have the perfect night? I can tell you one thing, it can only be possible after your expectations have been lowered considerably. Take this particular perfect night in LA, for example. When we first got down here (we live in LA for a month every summer), I was all gung-ho to make an evening of going to see Brightblack Morning Light at the Troubadour, followed by staying over at a hotel somewhere in Hollywood. With a pool! And cocktails! Well, as the day drew closer, this shining beacon of nightlife started to fade to a dull twinkle as we slogged through the intense heat wave, my husband Danny's work schedule here at Cal Arts where he is teaching summer school, and my exhaustion spending every day taking our kid to the public pool in 105 degree heat. We had been lucky most nights to split a beer and play a lackluster game of Scrabble before hitting our airbed at 10pm. How were we going to manage a night on the town? Ugh!",
"title": "Brightblack Morning Light at the Troubadour | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Brightblack Morning Light at the Troubadour",
"datePublished": "2006-08-02T12:23:52-07:00",
"dateModified": "2024-01-12T02:02:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brightblack_morning_light_at_the_troubadour",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/9440/brightblack_morning_light_at_the_troubadour",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>A Perfect Night in LA\u003c/b>\u003cbr>\nWho knows when you’re going to have the perfect night? I can tell you one thing, it can only be possible after your expectations have been lowered considerably. Take this particular perfect night in LA, for example. When we first got down here (we live in LA for a month every summer), I was all gung-ho to make an evening of going to see Brightblack Morning Light at the Troubadour, followed by staying over at a hotel somewhere in Hollywood. With a pool! And cocktails! Well, as the day drew closer, this shining beacon of nightlife started to fade to a dull twinkle as we slogged through the intense heat wave, my husband Danny’s work schedule here at Cal Arts where he is teaching summer school, and my exhaustion spending every day taking our kid to the public pool in 105 degree heat. We had been lucky most nights to split a beer and play a lackluster game of Scrabble before hitting our airbed at 10pm. How were we going to manage a night on the town? Ugh!\u003c/p>\n\u003cp>Even with the prospect of a babysitter (several of the teachers here are wild about Henry, or maybe they’re just broke) we couldn’t see spending $200 on a hotel, so I canceled that reservation. We still had the show tickets, though, since I bought them on Ticketmaster. I toyed with giving them away free on Craigslist, but just couldn’t throw in the towel just yet. Since we had missed the sold out Flaming Lips at the Hollywood Bowl, which my friends will never forgive me for since they all saw them up north and swore it was a religious experience, I felt like we had to at least try to go out and have some rock ‘n roll fun. So as the night approached, we steeled our resolve to just go out and do it.\u003c/p>\n\u003cp>That morning Danny was seriously dragging. It didn’t look good. We took our kid to a matinee of \u003cb>Monster House\u003c/b>, which was insanely scary for a five-year-old, and made us wary about then leaving him with a sitter in case he might be plagued with nightmares. But when our sitter Lee showed up, a fun-loving twentysomething indie filmmaker and trickster, Henry was so psyched to see him that they immediately took off to go have some wacky adventures, leaving Danny and I with nothing else to do but go out! We decided we were going to hit a movie first, so as not to have to stand around in a rock club for any more time than necessary, and to miss all opening acts if at all possible.\u003c/p>\n\u003cp>We headed for the Arclight to see \u003cb>Little Miss Sunshine\u003c/b> on opening night. Without advance tickets. Of course it was sold out, but boy, that Arclight is cool! So we stood around in the super moderne lobby trying to figure out which movie we should see, and based our choice strictly on start time, since we wanted enough time to grab something to eat. The best-timed movie that we could stomach was \u003cb>Clerks II\u003c/b>. So we bought our tickets (reserved seats!) and then headed to the café/bar in the lobby for some cocktails and food. As we were sipping our lemon drops and waiting for our food, we checked out the crowd. I noticed something interesting about straight men in LA — they all look gay! If any of these supposedly straight men, who seemed to me to be overly PDA-ing with their glamazon dates, walked down the street in San Francisco you would never guess in a million years he was straight. Weird. Perfectly gelled hair, super mod clothes, spray tans and nice shoes. I was perplexed and entertained by this anthropological discovery. But regardless, the people watching in LA is really unsurpassed. Good lookin’ specimens everywhere, and they all seem important in some way. You don’t know why, you don’t know how, but they are making shit happen in ways you can only venture to guess. Even the waiters at the Arclight were fab, including one who looked like a cross between Nick Cave and Dave Grohl — rowr!\u003c/p>\n\u003cp>There was a famous actress a few tables away, whose name I still have not been able to recall. I recognized her immediately, have seen her in magazines, she does movies and TV, she’s young, blonde, cute etc. One of these days I will see her picture and be like –duh! But for now, her agent is cursing the fact that she doesn’t elicit instant name recognition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After copping a buzz off our drinks and with full tummies, we bopped down to our fancypants theater to watch \u003cb>Clerks II\u003c/b>. Our expectations were waaaay low, since we both saw \u003cb>Clerks\u003c/b> but had no real recollection of it. Well, let me tell you \u003cb>Clerks II\u003c/b> is funny! Albeit in an absolutely crude, adolescent, gross, pathetic way, but we laughed, we really did. It had its moments, and actually was made with some kind of real heart and soul behind it. These dudes who made the first one, Kevin Smith and his buddies, made the sequel just to satisfy themselves and each other, and all the fans who have championed it over the years, and it works somehow. There are some great jokes, including a gut-busting tirade against \u003cb>Lord of the Rings\u003c/b> complete with re-enactment, and some endearing performances from the losers who can’t grow up. Their venue has moved from the Quick Stop to Mooby’s burgers, but they are still just killing time in Jersey. We came out of there feeling proud that we had chosen \u003cb>Clerks II\u003c/b> over \u003cb>My Super Ex-Girlfriend\u003c/b> and the universally panned \u003cb>The Lady in the Water\u003c/b>. We chose wisely. Step one to a perfect night — choose well, but don’t overthink.\u003c/p>\n\u003cp>Next stop, the Troubadour. As we cruised up Santa Monica Blvd., we saw the line of Paris Hilton and Nick Lachey wannabees, complete with valets, cops, and lines of shiny cars. What could this be, pray tell? Only Lobby, the hottest celeb club in LA! And it happens to be right next door to the seedy Troubadour. Well what luck. Seeing as we were going to see a smelly band of pseudo-hippies, it seemed only fitting we should be next door to such a glittering spectacle. Mommy is happy — hooray!\u003c/p>\n\u003cp>We walked into the club just as Brightblack Morning Light were starting up, perfect timing. It was mellow, not too crowded, and we found a comfy place right at the side of the stage to take in the vibe. Brightblack Morning Light are definitely part of the nouveau hippie scene I have waxed so eloquently upon in past posts. Their CD comes with rainbow prism glasses printed with marijuana leaves, for chrissake. But where most of those bands base their sound on a strumming or plucking acoustic guitar, Brightblack are of a darker, moodier groove, emanating from a vintage Fender Rhodes played by a cool chick in aviator sunglasses. Over to her left we have the dude in the poncho, greasy dreadlocks covering his face, with two white feathers sticking up from his mike stand, and he appears to be playing guitar. I believe his last name to be Shineywater. There are two drummers, flanking either side of the stage, with unconventional drum kits, one wearing flip-flops and one looking kinda like Gene Wilder. Oh yeah, and there are petrified logs along the front of the stage.\u003c/p>\n\u003cp>The music is trancelike, it’s deep, it’s a little boring but pretty cool. They bring up a friend, a cute girl in a vintage Live Aid t-shirt, ostensibly to sing with them. She stands at the mike, playing with her hair for what seems like an eternity until she finally moans something along with them. All is going as well as can be expected, and Danny and I are happy sipping our Coronas and chilling out, when there seems to be some kind of feedback happening. At first it’s hard to tell, since everything is drenched in all kinds of delay and reverb and nonsense. Suddenly, the poncho dude rips off said poncho in a fit of pique, starts ripping wires out of his guitar, and runs up to the front of the stage yelling “Fuck LA!” and storms off! Wha? Isn’t this the band that camps in the woods between shows and wants to save the spotted owl? Heaven forefend! Poncho Dude storms out the back door of the club, while a meaty bouncer stands guard as the door slams behind him. Two seconds later we hear a contrite little ‘tap tap tap’ at the door and the bouncer lets Poncho Dude back in, who proceeds to storm upstairs in search of the soundman. Meanwhile onstage, the ladies have decided to take back the night, and start rocking out way harder than they ever did with Poncho Dude onstage. You go, girls! The soundman looks down at me and Danny from the booth, and I say, “Hey, you better watch out — he’s coming to get you!” He just laughs and says “They were four hours late!” Poncho Dude has it out with him, then we hear some yelling and scuffling, and bottles being thrown. Someone tries to subdue Poncho Dude in the dressing room, which is a glass booth visible to the entire club. Only in LA! Hi-larious.\u003c/p>\n\u003cp>So the ladies keep on rocking out a couple more grooves, then the keyboard chick in the aviator glasses mumbles an apology through the layers of reverb and that’s the end of that. Well, Danny and I are mighty pleased with ourselves for having witnessed such an Altamont-lite ending to the freak folk love-in. We amble out onto the street, walking right into the fray of Hollywood foxes and foxettes waiting desperately to be deemed worthy enough to party with the likes of Lindsay Lohan inside the hallowed booths of Lobby. I beg Danny to indulge me — can we just walk past the line and back around the block and check out the action? Since the line is so thick along the sidewalk, there is nowhere to walk but the street in front. As I step one toe off the curb — BAM! There’s a car crash right in front of me. A valet, driving a shiny silver Mercedes, veers right to the club entrance from the middle lane, cutting off another car coming up in the right hand lane. It’s a hideous crunch and clatter. I jump back onto the curb and we marvel at the weirdness of it all when I hear “Hey, Alison.” What now?\u003c/p>\n\u003cp>It’s my old friend Jeff Palmer, bass player extraordinaire, who now plays with the fantastic band the Radar Brothers. He lives in LA now, but used to be a fixture in the SF music scene. He’s a genius musician, and an adorable, sweet guy. So we all chat for like a half hour, catching up, musing on LA and its serendipitous nature, and laughing. We watch the endless parade of tanned, leggy blonds and beefy jock actors hop in and out of Escalades in front of Lobby. It’s a nice moment, and feels like it’s a show just for us. Making the scene but not making it at all. Just hanging. The world has gotten a little more cozy since I hit forty, and maybe that’s kind of a cool thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the way home, to top off such a funny night, we had to do the proper LA thing and get In ‘N Out Burger drive-through. God, yum. Just super yum. We showed up at 2 a.m. with fries and a shake for Lee, who was like “Man, you guys read my mind. I was starving!” A perfect night, indeed.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9440/brightblack_morning_light_at_the_troubadour",
"authors": [
"169"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9360": {
"type": "posts",
"id": "arts_9360",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9360",
"score": null,
"sort": [
1154460579000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1154460579,
"format": "standard",
"title": "SNAG Rock: Why?",
"headTitle": "SNAG Rock: Why? | KQED",
"content": "\u003cp>A lonely voice, wailing to the world: why can’t you understand me?\u003c/p>\n\u003cp>Not only does this describe my attitude toward what I hereby dub SNAG (Sensitive New Age Guy) Rock, it pretty much sums up the message of the genre itself.\u003c/p>\n\u003cp>In my case, I would like to know why SNAG Rock has proliferated kudzu-style all over the sonic landscape. In the SNAG Rockers’ case, they would like to know why their girlfriend dumped them/why they screwed up a good thing/what the meaning of it all might be.\u003c/p>\n\u003cp>Not familiar with SNAG Rock? Oh, sure you are. Picture an overly hirsute dude (shoulder-length hair and/or five o’clock shadow), age 26-42 (not that they’d admit to anything over 27) wearing jeans and a black t-shirt or some other ensemble that says: my publicist made me wear this outfit; in real life, I am too obsessed with living a life that is true to my deepest self to care. You know the look.\u003c/p>\n\u003cp>The lead singer is the heart and imaginary soul of the SNAG Rock band. His voice would not exist had Eddie Vedder not been born a decade before him and cleared a path. Oh, Eddie; I’m not blaming you. Do we blame Nick Drake for the career of Duncan Sheik? No. Do we blame Tiffany for the career of Ashlee Simpson? No, we blame Jessica Simpson. And her creepy dad. But I digress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SNAG Rockers are well-meaning dudes who sing about love and beautiful girls and lost opportunities and all the usual mess, but they insist on doing it at top vocal throttle at all times so we can hear the unchecked emotion fueling this song that is more than a song, it is an expression of internal loss that must find its audience somehow…\u003c/p>\n\u003cp>The big question is: how is this ClearChannel’s fault? I think we can blame it on the Death Star by linking SNAG Rock to the radio format going by the self-canceling name of Hot AC (Adult Contemporary). Hot AC basically means rock music for adults and absolutely no hip-hop. [Question from the audience: Are any black artists allowed on Hot AC? Answer: Yes, Alicia Keys and that guy in the Dave Matthews Band]. Clear Channel and, to be fair, many other radio conglomerates, long ago devised a variety of music formats with which they program their stations. And on Hot AC (and AAA: Adult Album Alternative, a close sibling of Hot AC), you can only play Shawn Colvin’s \u003cb>Dawson’s Creek\u003c/b> song so many times. Cue SNAG Rock. It mitigates the Colvin Effect by applying a little bit of an edge to the playlist. Not much of an edge. Not a razor’s edge, for example. More like the edge of a phone book.\u003c/p>\n\u003cp>SNAG Rock appeals because it looks like it might rock, but it doesn’t. It uses a lot of the rock tricks — loud guitars, crashing drums, big choruses, even a little feedback here and there. In fact, SNAG Rock is to real rock as Veggie Booty is to the produce section at the Berkeley Bowl. It can make you sad.\u003c/p>\n\u003cp>You may have noticed that I have not mentioned any SNAG Rock bands by name. Nor will I. (Okay, Nickelback. But that’s it.) If you have to ask, you’ll never know. And what a happy state of affairs that would be… for you. As for me, I will continue to mourn the demise of unformatted radio. And wail, at full lung capacity, to anyone who will listen: why and wherefore SNAG Rock?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources\u003c/b>\u003cbr>Some great, unformatted radio stations:\u003cbr>KALX (Berkeley) \u003ca href=\"http://kalx.berkeley.edu/\" target=\"offsite\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>\u003cbr> KPOO (San Francisco) \u003ca href=\"http://www.kpoo.com/\" target=\"offsite\" rel=\"noopener\">www.kpoo.com\u003c/a>\u003cbr>KCRW (Santa Monica) \u003ca href=\"http://www.kcrw.com/\" target=\"offsite\" rel=\"noopener\">www.kcrw.com\u003c/a>\u003cbr>KEXP (Seattle) \u003ca href=\"http://www.kexp.org\" target=\"offsite\" rel=\"noopener\">www.kexp.org\u003c/a>\u003cbr>KGNU (Boulder) \u003ca href=\"http://kgnu.org/\" target=\"offfsite\" rel=\"noopener\">kgnu.org\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 655,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705053756,
"excerpt": "A lonely voice, wailing to the world: why can't you understand me? \u003cp>Not only does this describe my attitude toward what I hereby dub SNAG (Sensitive New Age Guy) Rock, it pretty much sums up the message of the genre itself.\u003c/p> \u003cp>In my case, I would like to know why SNAG Rock has proliferated kudzu-style all over the sonic landscape. In the SNAG Rockers' case, they would like to know why their girlfriend dumped them/why they screwed up a good thing/what the meaning of it all might be.\u003c/p> ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A lonely voice, wailing to the world: why can't you understand me? Not only does this describe my attitude toward what I hereby dub SNAG (Sensitive New Age Guy) Rock, it pretty much sums up the message of the genre itself. In my case, I would like to know why SNAG Rock has proliferated kudzu-style all over the sonic landscape. In the SNAG Rockers' case, they would like to know why their girlfriend dumped them/why they screwed up a good thing/what the meaning of it all might be. ",
"title": "SNAG Rock: Why? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SNAG Rock: Why?",
"datePublished": "2006-08-01T12:29:39-07:00",
"dateModified": "2024-01-12T02:02:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "snag_rock_why",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-popculture/",
"sticky": false,
"path": "/arts/9360/snag_rock_why",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lonely voice, wailing to the world: why can’t you understand me?\u003c/p>\n\u003cp>Not only does this describe my attitude toward what I hereby dub SNAG (Sensitive New Age Guy) Rock, it pretty much sums up the message of the genre itself.\u003c/p>\n\u003cp>In my case, I would like to know why SNAG Rock has proliferated kudzu-style all over the sonic landscape. In the SNAG Rockers’ case, they would like to know why their girlfriend dumped them/why they screwed up a good thing/what the meaning of it all might be.\u003c/p>\n\u003cp>Not familiar with SNAG Rock? Oh, sure you are. Picture an overly hirsute dude (shoulder-length hair and/or five o’clock shadow), age 26-42 (not that they’d admit to anything over 27) wearing jeans and a black t-shirt or some other ensemble that says: my publicist made me wear this outfit; in real life, I am too obsessed with living a life that is true to my deepest self to care. You know the look.\u003c/p>\n\u003cp>The lead singer is the heart and imaginary soul of the SNAG Rock band. His voice would not exist had Eddie Vedder not been born a decade before him and cleared a path. Oh, Eddie; I’m not blaming you. Do we blame Nick Drake for the career of Duncan Sheik? No. Do we blame Tiffany for the career of Ashlee Simpson? No, we blame Jessica Simpson. And her creepy dad. But I digress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SNAG Rockers are well-meaning dudes who sing about love and beautiful girls and lost opportunities and all the usual mess, but they insist on doing it at top vocal throttle at all times so we can hear the unchecked emotion fueling this song that is more than a song, it is an expression of internal loss that must find its audience somehow…\u003c/p>\n\u003cp>The big question is: how is this ClearChannel’s fault? I think we can blame it on the Death Star by linking SNAG Rock to the radio format going by the self-canceling name of Hot AC (Adult Contemporary). Hot AC basically means rock music for adults and absolutely no hip-hop. [Question from the audience: Are any black artists allowed on Hot AC? Answer: Yes, Alicia Keys and that guy in the Dave Matthews Band]. Clear Channel and, to be fair, many other radio conglomerates, long ago devised a variety of music formats with which they program their stations. And on Hot AC (and AAA: Adult Album Alternative, a close sibling of Hot AC), you can only play Shawn Colvin’s \u003cb>Dawson’s Creek\u003c/b> song so many times. Cue SNAG Rock. It mitigates the Colvin Effect by applying a little bit of an edge to the playlist. Not much of an edge. Not a razor’s edge, for example. More like the edge of a phone book.\u003c/p>\n\u003cp>SNAG Rock appeals because it looks like it might rock, but it doesn’t. It uses a lot of the rock tricks — loud guitars, crashing drums, big choruses, even a little feedback here and there. In fact, SNAG Rock is to real rock as Veggie Booty is to the produce section at the Berkeley Bowl. It can make you sad.\u003c/p>\n\u003cp>You may have noticed that I have not mentioned any SNAG Rock bands by name. Nor will I. (Okay, Nickelback. But that’s it.) If you have to ask, you’ll never know. And what a happy state of affairs that would be… for you. As for me, I will continue to mourn the demise of unformatted radio. And wail, at full lung capacity, to anyone who will listen: why and wherefore SNAG Rock?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources\u003c/b>\u003cbr>Some great, unformatted radio stations:\u003cbr>KALX (Berkeley) \u003ca href=\"http://kalx.berkeley.edu/\" target=\"offsite\" rel=\"noopener\">kalx.berkeley.edu\u003c/a>\u003cbr> KPOO (San Francisco) \u003ca href=\"http://www.kpoo.com/\" target=\"offsite\" rel=\"noopener\">www.kpoo.com\u003c/a>\u003cbr>KCRW (Santa Monica) \u003ca href=\"http://www.kcrw.com/\" target=\"offsite\" rel=\"noopener\">www.kcrw.com\u003c/a>\u003cbr>KEXP (Seattle) \u003ca href=\"http://www.kexp.org\" target=\"offsite\" rel=\"noopener\">www.kexp.org\u003c/a>\u003cbr>KGNU (Boulder) \u003ca href=\"http://kgnu.org/\" target=\"offfsite\" rel=\"noopener\">kgnu.org\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9360/snag_rock_why",
"authors": [
"143"
],
"categories": [
"arts_69"
],
"label": "arts"
},
"arts_9260": {
"type": "posts",
"id": "arts_9260",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "9260",
"score": null,
"sort": [
1153944837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1153944837,
"format": "standard",
"title": "Regina Spektor: Begin to Hope",
"headTitle": "Regina Spektor: Begin to Hope | KQED",
"content": "\u003cp>The song “Samson” is a standout on Regina Spektor’s album \u003cb>Begin to Hope\u003c/b>, and the one you’re likely to come across first. It’s a womanly, if weird, account of a not-so-Biblical affair. And despite the fact that Wonder bread is an element in the chorus, it’s a quite arresting reminiscence of love and haircuts. Spektor’s voice, inflected with her native Russian, swells and recedes along with her piano playing in a way that makes the song completely captivating. It’s the kind of song that makes you want to see the movie, even if there isn’t one.\u003c/p>\n\u003cp>Listening to the entire album, though, it quickly becomes apparent that Spektor’s music is more girl than woman. It’s something she has complained about (or at least, observed) in interviews: that many descriptions of her invoke the word “childlike.” Well, if your CD liner notes are adorned with art that looks like it comes from a bedtime story and your lyrics talk about eating slices of Wonder bread and dreaming of orca whales, then you’ve probably got to brace yourself for a “childlike” or two. \u003c/p>\n\u003cp>While it’s true that Spektor has a kid’s sense of whimsy, she isn’t just twirling around on the good ship lollipop. The classically trained pianist and singer-songwriter is capable of offering a sound, and a lyrical content, with plenty of depth. She is mining the same combination of theatricality and woman-girl sensuality as Fiona Apple and Bjork before her.\u003c/p>\n\u003cp>As with those two artists, the amount of pleasure you’ll derive from Spektor’s work depends on just how much idiosyncrasy you can tolerate. Personally, she lost me at “Hey remember that time when my favorite colors was pink and green/Hey remember that month when I only ate boxes of tangerines/So cheap and juicy!” on the album’s ninth track, “That Time.”\u003c/p>\n\u003cp>Spektor intends her songs to be little stories. So if you get piqued, don’t direct it at her — save it for the character portrayed in the song. Much of the time there’s a sensibility to admire, even if a song gets grating for one reason or another. Spektor is never simply cute, simply tragic — simply anything. The same song featuring memories of tangerines also involves a recollection of waiting in the hospital to hear news of a friend who OD’ed. And her lyrics aren’t always overcaffeinated. They can often be quite lovely, as in “Field Below,” where “Again the sun was never called/And darkness spreads over the snow/Like ancient bruises.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s very hard to get bored listening to this CD. In addition to her grand piano skills and versatile voice, Spektor indulges in vocal tics and accents that make her fascinating to listen to. She punctuates the chorus in “Apres Moi” with an “oh” that sounds like she’s been punched in the stomach. It sounds like an odd afterthought, but you can’t imagine the song without it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A nice thing about \u003cb>Begin to Hope\u003c/b> is that it doesn’t sound like any label executives have tried to de-quirk Spektor. She seems free to gasp and pant and sing about Wonder bread all she wants, and for the most part this is a good thing. Yes, it’s hard to get bored with Regina Spektor. But somehow, it’s not hard to turn her off after awhile, either. After all, children are very free, which why they can be so magical — and sometimes really annoying — at the same time.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 650,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705053761,
"excerpt": "The song \"Samson\" is a standout on Regina Spektor's album \u003cb>Begin to Hope\u003c/b>, and the one you're likely to come across first. It's a womanly, if weird, account of a not-so-Biblical affair. And despite the fact that Wonder bread is an element in the chorus, it's a quite arresting reminiscence of love and haircuts. Spektor's voice, inflected with her native Russian, swells and recedes along with her piano playing in a way that makes the song completely captivating. It's the kind of song that makes you want to see the movie, even if there isn't one.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The song "Samson" is a standout on Regina Spektor's album Begin to Hope, and the one you're likely to come across first. It's a womanly, if weird, account of a not-so-Biblical affair. And despite the fact that Wonder bread is an element in the chorus, it's a quite arresting reminiscence of love and haircuts. Spektor's voice, inflected with her native Russian, swells and recedes along with her piano playing in a way that makes the song completely captivating. It's the kind of song that makes you want to see the movie, even if there isn't one.",
"title": "Regina Spektor: Begin to Hope | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Regina Spektor: Begin to Hope",
"datePublished": "2006-07-26T13:13:57-07:00",
"dateModified": "2024-01-12T02:02:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "regina_spektor_begin_to_hope",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/",
"sticky": false,
"path": "/arts/9260/regina_spektor_begin_to_hope",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song “Samson” is a standout on Regina Spektor’s album \u003cb>Begin to Hope\u003c/b>, and the one you’re likely to come across first. It’s a womanly, if weird, account of a not-so-Biblical affair. And despite the fact that Wonder bread is an element in the chorus, it’s a quite arresting reminiscence of love and haircuts. Spektor’s voice, inflected with her native Russian, swells and recedes along with her piano playing in a way that makes the song completely captivating. It’s the kind of song that makes you want to see the movie, even if there isn’t one.\u003c/p>\n\u003cp>Listening to the entire album, though, it quickly becomes apparent that Spektor’s music is more girl than woman. It’s something she has complained about (or at least, observed) in interviews: that many descriptions of her invoke the word “childlike.” Well, if your CD liner notes are adorned with art that looks like it comes from a bedtime story and your lyrics talk about eating slices of Wonder bread and dreaming of orca whales, then you’ve probably got to brace yourself for a “childlike” or two. \u003c/p>\n\u003cp>While it’s true that Spektor has a kid’s sense of whimsy, she isn’t just twirling around on the good ship lollipop. The classically trained pianist and singer-songwriter is capable of offering a sound, and a lyrical content, with plenty of depth. She is mining the same combination of theatricality and woman-girl sensuality as Fiona Apple and Bjork before her.\u003c/p>\n\u003cp>As with those two artists, the amount of pleasure you’ll derive from Spektor’s work depends on just how much idiosyncrasy you can tolerate. Personally, she lost me at “Hey remember that time when my favorite colors was pink and green/Hey remember that month when I only ate boxes of tangerines/So cheap and juicy!” on the album’s ninth track, “That Time.”\u003c/p>\n\u003cp>Spektor intends her songs to be little stories. So if you get piqued, don’t direct it at her — save it for the character portrayed in the song. Much of the time there’s a sensibility to admire, even if a song gets grating for one reason or another. Spektor is never simply cute, simply tragic — simply anything. The same song featuring memories of tangerines also involves a recollection of waiting in the hospital to hear news of a friend who OD’ed. And her lyrics aren’t always overcaffeinated. They can often be quite lovely, as in “Field Below,” where “Again the sun was never called/And darkness spreads over the snow/Like ancient bruises.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s very hard to get bored listening to this CD. In addition to her grand piano skills and versatile voice, Spektor indulges in vocal tics and accents that make her fascinating to listen to. She punctuates the chorus in “Apres Moi” with an “oh” that sounds like she’s been punched in the stomach. It sounds like an odd afterthought, but you can’t imagine the song without it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A nice thing about \u003cb>Begin to Hope\u003c/b> is that it doesn’t sound like any label executives have tried to de-quirk Spektor. She seems free to gasp and pant and sing about Wonder bread all she wants, and for the most part this is a good thing. Yes, it’s hard to get bored with Regina Spektor. But somehow, it’s not hard to turn her off after awhile, either. After all, children are very free, which why they can be so magical — and sometimes really annoying — at the same time.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/9260/regina_spektor_begin_to_hope",
"authors": [
"12"
],
"categories": [
"arts_69"
],
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 4896,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4927,
"relation": "eq"
},
"items": [
"arts_10862",
"arts_10800",
"arts_10580",
"arts_10462",
"arts_10260",
"arts_9980",
"arts_9920",
"arts_9800",
"arts_9641",
"arts_9440",
"arts_9360",
"arts_9260"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
