From the Garage to Outer Space: Talking with the Chocolate Watchband's David Aguilar
Hou Hsiao-Hsien Directs a Thinking Killer in 'The Assassin'
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"title": "From the Garage to Outer Space: Talking with the Chocolate Watchband's David Aguilar",
"headTitle": "From the Garage to Outer Space: Talking with the Chocolate Watchband’s David Aguilar | KQED",
"content": "\u003cp>Listening to the Chocolate Watchband’s snarly, unforgettable versions of Ray Davies’s “I’m Not Everybody Else” and Annette Tucker and Nancie Mantz’s “I Ain’t No Miracle Worker” — renditions that vanquished all others in their wake — it’s not tough to imagine the South Bay’s finest ’60s garage rock band claiming a chart-topping place beside Big Brother & the Holding Company and Jefferson Airplane. Bill Graham certainly pictured that in the Watchband’s future when he tried to woo them to sign with him as their manager and let him send them out on tour with the Dead and the Airplane. \u003c/p>\n\u003cp>Instead, a host of unfortunate choices led the Watchband down the garden path toward surrendering control over their recordings, splintering and eventually self-destructing five short years after their inception. “Some of those problems, nowadays, are quite funny!” exclaims David Aguilar, now 69, vocalist and one of the few members of the Watchband who wrote songs that made it onto their LPs. \u003c/p>\n\u003cfigure id=\"attachment_11080723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg\" alt=\"An early promotional shot of the Chocolate Watchband.\" width=\"640\" height=\"816\" class=\"size-large wp-image-11080723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg 925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-960x1225.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An early promotional shot of the Chocolate Watchband.\u003c/figcaption>\u003c/figure>\n\u003cp>“The biggest problem was our name,” he continues jovially, from a cafe in downtown Aspen, Colorado near his current home. “When our record contract went to Tower Records, we were being marketed with Pink Floyd. But somebody, somewhere, in some office, thought we were a black rock ‘n’ roll group, so they sold us to a black rhythm and blues label, Uptown. Lo and behold, the first Uptown Records concert they booked us into was at [the Oakland] Arena, and we walked in — it was with the Coasters and Chuck Berry — and they walked in, and I don’t know whose jaw dropped down more!” \u003c/p>\n\u003cp>Today it makes for good story, but back in the day, it was simply one in a series of missteps and outrages besetting the band — which some critics now regard as not only the best, most aggressive and rangy British Invasion-inspired garage rock unit to emerge from the ’60s Bay Area, but perhaps the entire country. Kindred San Jose spirits Count Five may have created the charting power stomp of “Psychotic Reaction,” but couldn’t keep it together for much longer than that. The Watchband, meanwhile, made a name for themselves throughout the Bay Area with their live shows, holding their own alongside everyone from the Mothers of Invention and the Grateful Dead to Jimi Hendrix and the Doors. \u003c/p>\n\u003cp>Aguilar was not the first vocalist for the Watchband, which guitarists Mark Loomis and Ned Torney began tentatively amid the eucalyptuses of Foothill College in Los Altos Hills in 1965. But when the time came to put together a solid new Watchband to replace departed singer Danny Phay, Loomis knew that Aguilar, a science student at San Jose State, had the right bad attitude and a righteous way around a blues-rock hook. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4yYijbsnH64\u003c/p>\n\u003cp>You can see it all go down in snippets of the 1967 rock-scene B-movie \u003cem>Riot on Sunset Strip\u003c/em>, as a dandified Aguilar struts, shakes his maracas, blows a mean harmonica, and swings his pageboy like he’s in a cockfight for frontman supremacy with Mick Jagger. You can hear it in the band’s hard-edged attack, which later inspired the Undertones to later undertake their own bristling cover of the Watchband’s “Let’s Talk About Girls” and Jet to do their own saucy version of “Sweet Young Thing.”\u003c/p>\n\u003cp>Oddly, you wouldn’t necessarily know the band even existed by taking in the sounds of the Bay Area’s latest garage rock explosion. Few overt tributes to the pioneering garage band exist from their sonic descendants like Ty Segall, John Dwyer of Thee Oh Sees, Shannon and the Clams, the Mummies, Hunx and His Punx, Nobunny or any of the many other spunky, punky distortion wranglers who have upped and moved to Oakland or LA. \u003c/p>\n\u003cfigure id=\"attachment_11080724\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg\" alt=\"The Chocolate Watchband's first album 'No Way Out.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11080724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband’s first album, ‘No Way Out.’\u003c/figcaption>\u003c/figure>\n\u003cp>But Aguilar isn’t fretting about his nonrelationship with the current generation. “There’s a difference between our music and the music you hear today,” he mulls, going on to describe the Oh Sees, for instance, as far more experimental than the Watchband. “The funny thing about the music we were creating is that it lasts and stays. We were writing it and doing it ourselves — we weren’t being manipulated and handled.” \u003c/p>\n\u003cp>Still, the Watchband had its share of music biz machinations. Their music may not have been the slickest of pop — like the current chart-toppers that Aguilar derides as “so mechanically produced as a product, candy to be given out and don’t worry we can make some more” — but the vocalist must have felt at least a little slighted when Svengali producer-songwriter Ed Cobb, who was also behind the garage rock outfit the Standells and the writer of songs like “Tainted Love,” swapped out many of his vocals with those of session musician and songwriter Don Bennett on the Watchband’s first two albums. \u003c/p>\n\u003cp>Aguilar, however, sounds anything but bitter. “We were young — 17 and 18 years old — and we could not believe we were being flown first class to Hollywood recording studios!” he enthuses. “I brought my songs in, and Ed brought his songs in, and I remember telling him several times to his face that ‘That song stinks — we will not record it.'”\u003c/p>\n\u003cp>Bad blood on either writer’s part aside, Aguilar allows, “to be truthful, with my songwriting and how much it eventually advanced, I would have loved to have recorded another album with Ed. He was a great songwriter.”\u003c/p>\n\u003cfigure id=\"attachment_11080725\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg\" alt=\"An early shot of the band.\" width=\"500\" height=\"334\" class=\"size-full wp-image-11080725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An early shot of the band.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may chalk up the Watchband’s obscurity and lack of chart hits to bad breaks, poor management, a failure of marketing and distribution, and an absence of national tours. To that lethal combo, Aguilar adds: “Drugs really hit our group, too. Mark Loomis was really strung out on some nasty stuff. At that time, you took your chances — you may end up back home or on a trip that never ended.” Loomis, who died last year, was the first to quit the group, “and that’s when I said ‘I’m going back to school,'” Aguilar says. \u003c/p>\n\u003cp>In the ensuing years, Aguilar found another far-out way to channel his creativity. His astrophysics degrees at San Jose State led him to a longtime position as the director of public affairs and science information at the Harvard-Smithsonian Center for Astrophysics, and this summer, he led a special media team for the NASA New Horizons mission to Pluto — during which he also happened to meet fellow rocker-turned-astrophysicist Brian May of Queen. \u003c/p>\n\u003cp>Now an award-winning author and illustrator of seven National Geographic science books, Aguilar is working on a “Cosmic Catastrophes” series for kids, due out on Smithsonian Books. Music has always been simmering in the background, though never with another band like the Chocolate Watchband. “I do write and compose and record music,” he says, “and so when I do space artwork, I hear music and record it and listen to it over and over again. To me, music and art are all connected together.” \u003c/p>\n\u003cfigure id=\"attachment_11080726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg\" alt=\"The Chocolate Watchband today, with Darryl Hooper from the Seeds.\" width=\"640\" height=\"801\" class=\"size-large wp-image-11080726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg 943w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-1180x1477.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-960x1202.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper.jpg 1581w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband today, with Darryl Hooper from the Seeds. \u003ccite>(Courtesy the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few of those new songs might even surface when the Watchband plays once again in the Bay Area, this time with early member Gary Andrijasevich on drums, Tim Abbott on guitar, Alex Palao on bass, as well as keyboardist, and new member, Daryl Hooper of the Seeds. \u003c/p>\n\u003cp>It’s been several lifetimes since Aguilar quit the band in 1967 — after which the Watchband carried on for three more years, with a new sound, to fulfill contractual obligations — but he believes the Watchband’s sound “was always there, and it came back in the ’90s, all of a sudden, with our records selling and so many demands to play.” \u003c/p>\n\u003cp>Aguilar sounds like he still can’t quite believe it, while mercifully sparing us a “hash tag blessed” postscript. “I never dreamed I would have the opportunity to step back on stage and play these songs again,” he marvels. “They may not speak English in France and Spain, but the audiences can sing all the words of these songs back to me when I’m on stage.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Chocolate Watchband perform Thursday, Nov. 19, at the Chapel in San Francisco. Powder, Cellar Doors and DJ Sid Presley open. \u003ca href=\"http://www.thechapelsf.com/event/952133-chocolate-watchband-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The band also plays Saturday, Nov. 21, at the Ritz in San Jose. Powder and the Gentle Cycle open. \u003ca href=\"http://www.ticketfly.com/event/951515-chocolate-watchband-san-jose/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Jose's progenitors of 1960s garage rock are back on stage, amidst a resurgence of their sound that continues to ripple throughout the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Listening to the Chocolate Watchband’s snarly, unforgettable versions of Ray Davies’s “I’m Not Everybody Else” and Annette Tucker and Nancie Mantz’s “I Ain’t No Miracle Worker” — renditions that vanquished all others in their wake — it’s not tough to imagine the South Bay’s finest ’60s garage rock band claiming a chart-topping place beside Big Brother & the Holding Company and Jefferson Airplane. Bill Graham certainly pictured that in the Watchband’s future when he tried to woo them to sign with him as their manager and let him send them out on tour with the Dead and the Airplane. \u003c/p>\n\u003cp>Instead, a host of unfortunate choices led the Watchband down the garden path toward surrendering control over their recordings, splintering and eventually self-destructing five short years after their inception. “Some of those problems, nowadays, are quite funny!” exclaims David Aguilar, now 69, vocalist and one of the few members of the Watchband who wrote songs that made it onto their LPs. \u003c/p>\n\u003cfigure id=\"attachment_11080723\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg\" alt=\"An early promotional shot of the Chocolate Watchband.\" width=\"640\" height=\"816\" class=\"size-large wp-image-11080723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-925x1180.jpg 925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-470x600.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo-960x1225.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchEarlyPromo.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An early promotional shot of the Chocolate Watchband.\u003c/figcaption>\u003c/figure>\n\u003cp>“The biggest problem was our name,” he continues jovially, from a cafe in downtown Aspen, Colorado near his current home. “When our record contract went to Tower Records, we were being marketed with Pink Floyd. But somebody, somewhere, in some office, thought we were a black rock ‘n’ roll group, so they sold us to a black rhythm and blues label, Uptown. Lo and behold, the first Uptown Records concert they booked us into was at [the Oakland] Arena, and we walked in — it was with the Coasters and Chuck Berry — and they walked in, and I don’t know whose jaw dropped down more!” \u003c/p>\n\u003cp>Today it makes for good story, but back in the day, it was simply one in a series of missteps and outrages besetting the band — which some critics now regard as not only the best, most aggressive and rangy British Invasion-inspired garage rock unit to emerge from the ’60s Bay Area, but perhaps the entire country. Kindred San Jose spirits Count Five may have created the charting power stomp of “Psychotic Reaction,” but couldn’t keep it together for much longer than that. The Watchband, meanwhile, made a name for themselves throughout the Bay Area with their live shows, holding their own alongside everyone from the Mothers of Invention and the Grateful Dead to Jimi Hendrix and the Doors. \u003c/p>\n\u003cp>Aguilar was not the first vocalist for the Watchband, which guitarists Mark Loomis and Ned Torney began tentatively amid the eucalyptuses of Foothill College in Los Altos Hills in 1965. But when the time came to put together a solid new Watchband to replace departed singer Danny Phay, Loomis knew that Aguilar, a science student at San Jose State, had the right bad attitude and a righteous way around a blues-rock hook. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4yYijbsnH64'\n title='//www.youtube.com/embed/4yYijbsnH64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You can see it all go down in snippets of the 1967 rock-scene B-movie \u003cem>Riot on Sunset Strip\u003c/em>, as a dandified Aguilar struts, shakes his maracas, blows a mean harmonica, and swings his pageboy like he’s in a cockfight for frontman supremacy with Mick Jagger. You can hear it in the band’s hard-edged attack, which later inspired the Undertones to later undertake their own bristling cover of the Watchband’s “Let’s Talk About Girls” and Jet to do their own saucy version of “Sweet Young Thing.”\u003c/p>\n\u003cp>Oddly, you wouldn’t necessarily know the band even existed by taking in the sounds of the Bay Area’s latest garage rock explosion. Few overt tributes to the pioneering garage band exist from their sonic descendants like Ty Segall, John Dwyer of Thee Oh Sees, Shannon and the Clams, the Mummies, Hunx and His Punx, Nobunny or any of the many other spunky, punky distortion wranglers who have upped and moved to Oakland or LA. \u003c/p>\n\u003cfigure id=\"attachment_11080724\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg\" alt=\"The Chocolate Watchband's first album 'No Way Out.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11080724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocwatchLPCOVER.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband’s first album, ‘No Way Out.’\u003c/figcaption>\u003c/figure>\n\u003cp>But Aguilar isn’t fretting about his nonrelationship with the current generation. “There’s a difference between our music and the music you hear today,” he mulls, going on to describe the Oh Sees, for instance, as far more experimental than the Watchband. “The funny thing about the music we were creating is that it lasts and stays. We were writing it and doing it ourselves — we weren’t being manipulated and handled.” \u003c/p>\n\u003cp>Still, the Watchband had its share of music biz machinations. Their music may not have been the slickest of pop — like the current chart-toppers that Aguilar derides as “so mechanically produced as a product, candy to be given out and don’t worry we can make some more” — but the vocalist must have felt at least a little slighted when Svengali producer-songwriter Ed Cobb, who was also behind the garage rock outfit the Standells and the writer of songs like “Tainted Love,” swapped out many of his vocals with those of session musician and songwriter Don Bennett on the Watchband’s first two albums. \u003c/p>\n\u003cp>Aguilar, however, sounds anything but bitter. “We were young — 17 and 18 years old — and we could not believe we were being flown first class to Hollywood recording studios!” he enthuses. “I brought my songs in, and Ed brought his songs in, and I remember telling him several times to his face that ‘That song stinks — we will not record it.'”\u003c/p>\n\u003cp>Bad blood on either writer’s part aside, Aguilar allows, “to be truthful, with my songwriting and how much it eventually advanced, I would have loved to have recorded another album with Ed. He was a great songwriter.”\u003c/p>\n\u003cfigure id=\"attachment_11080725\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg\" alt=\"An early shot of the band.\" width=\"500\" height=\"334\" class=\"size-full wp-image-11080725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/chocwatchbw-400x267.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">An early shot of the band.\u003c/figcaption>\u003c/figure>\n\u003cp>Some may chalk up the Watchband’s obscurity and lack of chart hits to bad breaks, poor management, a failure of marketing and distribution, and an absence of national tours. To that lethal combo, Aguilar adds: “Drugs really hit our group, too. Mark Loomis was really strung out on some nasty stuff. At that time, you took your chances — you may end up back home or on a trip that never ended.” Loomis, who died last year, was the first to quit the group, “and that’s when I said ‘I’m going back to school,'” Aguilar says. \u003c/p>\n\u003cp>In the ensuing years, Aguilar found another far-out way to channel his creativity. His astrophysics degrees at San Jose State led him to a longtime position as the director of public affairs and science information at the Harvard-Smithsonian Center for Astrophysics, and this summer, he led a special media team for the NASA New Horizons mission to Pluto — during which he also happened to meet fellow rocker-turned-astrophysicist Brian May of Queen. \u003c/p>\n\u003cp>Now an award-winning author and illustrator of seven National Geographic science books, Aguilar is working on a “Cosmic Catastrophes” series for kids, due out on Smithsonian Books. Music has always been simmering in the background, though never with another band like the Chocolate Watchband. “I do write and compose and record music,” he says, “and so when I do space artwork, I hear music and record it and listen to it over and over again. To me, music and art are all connected together.” \u003c/p>\n\u003cfigure id=\"attachment_11080726\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg\" alt=\"The Chocolate Watchband today, with Darryl Hooper from the Seeds.\" width=\"640\" height=\"801\" class=\"size-large wp-image-11080726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-943x1180.jpg 943w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-400x501.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-479x600.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-1180x1477.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper-960x1202.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/ChocWatchwDarylHooper.jpg 1581w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Chocolate Watchband today, with Darryl Hooper from the Seeds. \u003ccite>(Courtesy the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few of those new songs might even surface when the Watchband plays once again in the Bay Area, this time with early member Gary Andrijasevich on drums, Tim Abbott on guitar, Alex Palao on bass, as well as keyboardist, and new member, Daryl Hooper of the Seeds. \u003c/p>\n\u003cp>It’s been several lifetimes since Aguilar quit the band in 1967 — after which the Watchband carried on for three more years, with a new sound, to fulfill contractual obligations — but he believes the Watchband’s sound “was always there, and it came back in the ’90s, all of a sudden, with our records selling and so many demands to play.” \u003c/p>\n\u003cp>Aguilar sounds like he still can’t quite believe it, while mercifully sparing us a “hash tag blessed” postscript. “I never dreamed I would have the opportunity to step back on stage and play these songs again,” he marvels. “They may not speak English in France and Spain, but the audiences can sing all the words of these songs back to me when I’m on stage.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chocolate Watchband perform Thursday, Nov. 19, at the Chapel in San Francisco. Powder, Cellar Doors and DJ Sid Presley open. \u003ca href=\"http://www.thechapelsf.com/event/952133-chocolate-watchband-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. The band also plays Saturday, Nov. 21, at the Ritz in San Jose. Powder and the Gentle Cycle open. \u003ca href=\"http://www.ticketfly.com/event/951515-chocolate-watchband-san-jose/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grindhouse martial arts meets art-house “slow cinema” — that’s one quick and dirty way to summarize acclaimed director Hou Hsiao-Hsien’s new film, \u003cem>The Assassin\u003c/em>, his first venture into the gravity-defying heroic terrain of \u003ca href=\"https://en.wikipedia.org/wiki/Wuxia\" target=\"_blank\" rel=\"noopener\">wuxia\u003c/a>.\u003c/p>\n\u003cp>Yet make no mistake: \u003cem>The Assassin\u003c/em> is worlds away from your average assembly-line effort. Instead, think of other masters of world cinema and their forays into genre moviemaking — like Stanley Kubrick stalking then elevating the pulp of Stephen King’s \u003cem>The Shining\u003c/em> and Andrei Tarkovsky grappling with Stanislaw Lem’s outer space specters in \u003cem>Solaris\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11026036\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Hou — a critical part of the “second new wave” of Taiwanese cinema and often credited with putting his country’s films on the map with 1989’s powerful \u003cem>A City of Sadness\u003c/em> — bends the form to the shape of his imagination rather buckling to formula demands. \u003c/p>\n\u003cp>After a seven-year absence from feature filmmaking, \u003cem>The Assassin\u003c/em> marks the return of if not a director’s killer’s instincts then his indelible signature: an unmistakable sense of time marked by long takes and discreet camera movement, a feeling for naturalistic movement within the frame of very formal, arresting compositions.\u003c/p>\n\u003cp>So instead of flying fighters and over-the-top physical one-upmanship, we find a thinking, observing and independent-minded bladeswoman played by Hou’s three-time leading lady Shu Qi. Instead of standard battlegrounds and set pieces, Hou gives us a soundscape of birdsong and breathtaking images straight out of classical Chinese landscape paintings.\u003c/p>\n\u003cfigure id=\"attachment_11026037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this, \u003cem>The Assassin\u003c/em> earned Hou the best director award at this year’s Cannes Film Festival. In San Francisco for the Mill Valley Film Festival and Taiwan Film Days earlier this month, the 68-year-old director sat down for an interview with the help of interpreter Ginger Wei.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The action in \u003cem>The Assassin\u003c/em> is so unusual — naturalistic, offhand and a seamless part of the natural landscape, as if the character is a force of nature. What did you want to accomplish with those scenes, which are usually so important in martial arts films?\u003c/strong> \u003c/p>\n\u003cp>I am more focused on a more realistic approach even if it’s a martial arts film. With natural lights and wind, we wanted to create a different sense of space and time for the audience. \u003c/p>\n\u003cp>As far as fighting sequences go, I didn’t want to shoot anything ridiculous. There’s still gravity. You can’t go against gravity. That’s my basic principle. In fact when we consulted a couple of martial arts trainers, they suggested, for instance, you can have this scene where you hit a cup, the water in slow motion starts coming out of the cup, and in the meantime the assassin approaches the target and kills the target and the cup has not dropped to the floor yet. To me, that’s a bit… too much. \u003c/p>\n\u003cfigure id=\"attachment_11026038\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11026038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The movie is set during the Tang Dynasty — what were the challenges of trying to re-create a time period or was it a matter of getting to a kind of emotional truth? What did you find interesting about it?\u003c/strong> \u003c/p>\n\u003cp>I don’t think the film portrayed precisely what the Tang Dynasty was like. Impossible. \u003c/p>\n\u003cp>But there is a large volume of literature written about the Tang Dynasty. We researched a great deal. I’m intrigued by many elements I came across in my own reading. There were women who were strong willed and officers who were allowed to have one wife and several concubines. Little things that I find quite interesting and also have relevance to today’s society. An assassin that didn’t just go blindly to assassinate kind of tells a message — that violence is for revenge or whatever reason but it shouldn’t be without solid ground or purpose. That’s something I like to tell through the film. \u003c/p>\n\u003cp>\u003cstrong>The images of nature — shot in Mongolia and Hubei — were so striking. The contrast between the luxurious interior and natural exterior shots stay with you.\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11026039\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was hard to find the type of scenery that I wanted in Taiwan — it’s a smaller place, so we went to Mainland China and thankfully there are still remote areas that are not so developed. For instance, there’s a lake and a farmer’s hut in the film — it’s all natural. It’s all there. Nothing has touched it because civilization has not reached that far.\u003c/p>\n\u003cp>\u003cstrong>In 1988, you were called “the future of cinema” — how do you see it unfolding today, with the many screens surrounding us. Today you can watch a movie on your phone, yet \u003cem>The Assassin\u003c/em> seems like it’s going in a very different direction.\u003c/strong>\u003c/p>\n\u003cp>I feel the digital world is here. It’s inevitable, even though I shot this film with actual film. \u003c/p>\n\u003cp>The digital world, I think, creates more dynamics, but it will alter the way stories will be told… It creates more freedom and space for filmmakers. I think for my next project, I will attempt to use the digital method. \u003c/p>\n\u003cp>I think the change of media will maybe affect the movies. They have to be shorter, they have to be more simple, and they have to be quick, because people’s attention span has become shorter.\u003c/p>\n\u003cp>\u003cstrong>It sounds like your next project will be set in contemporary times? \u003c/strong>\u003c/p>\n\u003cp>The next project, one in process, is about the underground water pipe network in Taipei that was left from the time of the Japanese occupation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Assassin\u003c/em> opens Friday, Oct. 23, 2015 in the Bay Area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grindhouse martial arts meets art-house “slow cinema” — that’s one quick and dirty way to summarize acclaimed director Hou Hsiao-Hsien’s new film, \u003cem>The Assassin\u003c/em>, his first venture into the gravity-defying heroic terrain of \u003ca href=\"https://en.wikipedia.org/wiki/Wuxia\" target=\"_blank\" rel=\"noopener\">wuxia\u003c/a>.\u003c/p>\n\u003cp>Yet make no mistake: \u003cem>The Assassin\u003c/em> is worlds away from your average assembly-line effort. Instead, think of other masters of world cinema and their forays into genre moviemaking — like Stanley Kubrick stalking then elevating the pulp of Stephen King’s \u003cem>The Shining\u003c/em> and Andrei Tarkovsky grappling with Stanislaw Lem’s outer space specters in \u003cem>Solaris\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_11026036\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/1Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, Hou — a critical part of the “second new wave” of Taiwanese cinema and often credited with putting his country’s films on the map with 1989’s powerful \u003cem>A City of Sadness\u003c/em> — bends the form to the shape of his imagination rather buckling to formula demands. \u003c/p>\n\u003cp>After a seven-year absence from feature filmmaking, \u003cem>The Assassin\u003c/em> marks the return of if not a director’s killer’s instincts then his indelible signature: an unmistakable sense of time marked by long takes and discreet camera movement, a feeling for naturalistic movement within the frame of very formal, arresting compositions.\u003c/p>\n\u003cp>So instead of flying fighters and over-the-top physical one-upmanship, we find a thinking, observing and independent-minded bladeswoman played by Hou’s three-time leading lady Shu Qi. Instead of standard battlegrounds and set pieces, Hou gives us a soundscape of birdsong and breathtaking images straight out of classical Chinese landscape paintings.\u003c/p>\n\u003cfigure id=\"attachment_11026037\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/2Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this, \u003cem>The Assassin\u003c/em> earned Hou the best director award at this year’s Cannes Film Festival. In San Francisco for the Mill Valley Film Festival and Taiwan Film Days earlier this month, the 68-year-old director sat down for an interview with the help of interpreter Ginger Wei.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The action in \u003cem>The Assassin\u003c/em> is so unusual — naturalistic, offhand and a seamless part of the natural landscape, as if the character is a force of nature. What did you want to accomplish with those scenes, which are usually so important in martial arts films?\u003c/strong> \u003c/p>\n\u003cp>I am more focused on a more realistic approach even if it’s a martial arts film. With natural lights and wind, we wanted to create a different sense of space and time for the audience. \u003c/p>\n\u003cp>As far as fighting sequences go, I didn’t want to shoot anything ridiculous. There’s still gravity. You can’t go against gravity. That’s my basic principle. In fact when we consulted a couple of martial arts trainers, they suggested, for instance, you can have this scene where you hit a cup, the water in slow motion starts coming out of the cup, and in the meantime the assassin approaches the target and kills the target and the cup has not dropped to the floor yet. To me, that’s a bit… too much. \u003c/p>\n\u003cfigure id=\"attachment_11026038\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11026038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/3Assassin640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The movie is set during the Tang Dynasty — what were the challenges of trying to re-create a time period or was it a matter of getting to a kind of emotional truth? What did you find interesting about it?\u003c/strong> \u003c/p>\n\u003cp>I don’t think the film portrayed precisely what the Tang Dynasty was like. Impossible. \u003c/p>\n\u003cp>But there is a large volume of literature written about the Tang Dynasty. We researched a great deal. I’m intrigued by many elements I came across in my own reading. There were women who were strong willed and officers who were allowed to have one wife and several concubines. Little things that I find quite interesting and also have relevance to today’s society. An assassin that didn’t just go blindly to assassinate kind of tells a message — that violence is for revenge or whatever reason but it shouldn’t be without solid ground or purpose. That’s something I like to tell through the film. \u003c/p>\n\u003cp>\u003cstrong>The images of nature — shot in Mongolia and Hubei — were so striking. The contrast between the luxurious interior and natural exterior shots stay with you.\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_11026039\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg\" alt=\"Still from 'The Assassin.'\" width=\"640\" height=\"450\" class=\"size-full wp-image-11026039\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/5Assassin640-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Assassin.’ \u003ccite>(Courtesy: Well Go USA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was hard to find the type of scenery that I wanted in Taiwan — it’s a smaller place, so we went to Mainland China and thankfully there are still remote areas that are not so developed. For instance, there’s a lake and a farmer’s hut in the film — it’s all natural. It’s all there. Nothing has touched it because civilization has not reached that far.\u003c/p>\n\u003cp>\u003cstrong>In 1988, you were called “the future of cinema” — how do you see it unfolding today, with the many screens surrounding us. Today you can watch a movie on your phone, yet \u003cem>The Assassin\u003c/em> seems like it’s going in a very different direction.\u003c/strong>\u003c/p>\n\u003cp>I feel the digital world is here. It’s inevitable, even though I shot this film with actual film. \u003c/p>\n\u003cp>The digital world, I think, creates more dynamics, but it will alter the way stories will be told… It creates more freedom and space for filmmakers. I think for my next project, I will attempt to use the digital method. \u003c/p>\n\u003cp>I think the change of media will maybe affect the movies. They have to be shorter, they have to be more simple, and they have to be quick, because people’s attention span has become shorter.\u003c/p>\n\u003cp>\u003cstrong>It sounds like your next project will be set in contemporary times? \u003c/strong>\u003c/p>\n\u003cp>The next project, one in process, is about the underground water pipe network in Taipei that was left from the time of the Japanese occupation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Assassin\u003c/em> opens Friday, Oct. 23, 2015 in the Bay Area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kate's Daughters, Björk's Brood: Florence, Marina and Christine",
"headTitle": "Kate’s Daughters, Björk’s Brood: Florence, Marina and Christine | KQED",
"content": "\u003cp>Hail Kate, full of grace, these ladies are with thee. Blessed art Björk among singer-songwriters and blessed is the fruit of thy “Homogenic.” Ah-\u003cem>women\u003c/em>. \u003c/p>\n\u003cp>So the prayer might go for Florence Welch of Florence and the Machine, Marina Diamandis of Marina and the Diamonds, and Héloïse Letissier of Christine and the Queens, because the three have more in common than their similar band names. These are the spiritual daughters of Kate Bush and Björk, surfing their own unpredictable waves of eccentric art rock/pop, in the wake of boldly original, feminine forbearers who never shrank from potentially cheesy dance moves or crackling ice samples. This week in the Bay Area, catch, but don’t bottle, the three upstarts’ quicksilver brilliance. \u003c/p>\n\u003cp>What do they share? The first, best adjective for these ladies’ every move is “ambitious.” Their grip on the wild horses of melody is serenely authoritative, their beats frisky, their vocals gusty and oft lusty. Too cool for the Eurovision school, they’ve got their vision goggles in place and all write their own songs. Their penchant for passionate displays is matched only by their knack for movement and performance — snap, go the Danskins, Kate. Their command of the club floor has the potential to twirl Björk’s knobs. \u003c/p>\n\u003cp>Judging from these first-name-basis lasses’ latest music, there’s a songwriter begat by Kate Bush and Björk for every occasion. And you will know them by this handy identification guide… \u003c/p>\n\u003cfigure id=\"attachment_11021750\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg\" alt=\"(Photo: Tom Beard)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Tom Beard)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lush Romantic: Florence and the Machine \u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>How Big, How Blue, How Beautiful\u003c/em> (Island)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Who’s Florence?\u003c/strong>: Florence Welch \u003c/p>\n\u003cp>\u003cstrong>What’s the Machine?\u003c/strong>: It’s a joking nickname for longtime collaborator Isabella Summers — the Machine to Welch’s Robot. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Florence Welch’s pre-Raphaelite profile and flurry of red tresses, flung with drama-class, high-ginger abandon. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: The MTV Video Music Awards 2010, where Flo and the Mach first dropped a swirl of romantic chiffon on mainstream TV audiences. \u003cem>Vogue\u003c/em>. A clamshell on the 2012 Chanel runway, where Welch was cast a singing pearl by Karl Lagerfeld. Blake Lively and Ryan Reynolds’ wedding, for which Welch performed. This spring’s Coachella, where Welch broke her foot. This year’s Glastonbury Festival as the first female-fronted headliner since 1999, according to \u003cem>The Guardian\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Florence and the Machine’s opulent art-rock got bigger, deeper, and more lavishly detailed with \u003cem>How Big, How Blue, How Beautiful\u003c/em>. Is it a concept LP about LA witchcraft circles, as Welch hinted to \u003cem>NME\u003c/em> this summer? Certainly the title track nudges that notion with lyrics like “Between a crucifix and the Hollywood sign, we decided to get hurt / Now there’s a few things we have to burn,” and bonus demo track “Which Witch.” All allude to womanly power and usher in Biblical, saintly and mythological female icons (the gospel-tinged “Delilah,” “St. Jude”).\u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Well, a writer for MTV Style confessed in 2012, “if there’s anyone who’s a human unicorn besides Björk, it would be [Welch].” Welch also sought out producer Markus Dravs, who helmed Björk’s \u003cem>Homogenic\u003c/em>, because it was such an important recording in her development. Welch’s inspired, rock-operatic “Odyssey” videos for \u003cem>How Big\u003c/em>’s “What Kind of Man,” “Ship to Wreck,” “St. Jude,” “Queen of Peace,” and “Long & Lost” would also make the capering, miming “Wuthering Heights”-era Kate Bush proud. \u003c/p>\n\u003cfigure id=\"attachment_11021752\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg\" alt=\"(Photo: Charlotte Rutherford)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Charlotte Rutherford)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Disco Dark Horse: Marina and the Diamonds\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Froot\u003c/em> (Atlantic)\u003c/p>\n\u003cp>\u003cstrong>Who’s Marina?\u003c/strong>: Marina Diamandis\u003c/p>\n\u003cp>\u003cstrong>Who are the Diamonds?\u003c/strong>: The Welsh singer-songwriter is having a little pun fun with her Greek father’s name. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Style reinvention is the name of the image game for Diamandis, who has gone from brunette to bubblegum pop-tart blond to dark-haired vixen once again. She also can’t resist a cute costume — whether it’s “vintage, cheerleader, cartoon,” she told The Walk. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Wales and Greece, where Diamandis has lived, and a window display for Selfridges in London, which she designed and populated herself as a live mannequin.\u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: “Froot” sees Diamandis dominating the dance floor and skillfully wielding synthpop hooks, all on her own: she wrote all the songs and co-produced with David Kosten, rather than pulling a standard pop move and bringing in a cadre of producers and songwriters. The result echoes with inspirations ranging from David Bowie (“Gold”) to Rihanna (“Weeds”), though shockingly infectious tracks like “I’m a Ruin” and “Better Than That” sound distinctively original — and like well-polished Top 40. \u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Proudly describing herself as feminist, Diamandis owns up to loving Kate Bush and outsider songwriting savant Daniel Johnston as well as Britney Spears and Annie. Her Bush-like video for “I’m a Ruin,” which finds her contorting on a barren plain, does nothing to dispel her potential as a chart-topping weirdnik. She’d also likely don Björk’s swan dress in a honking second. \u003c/p>\n\u003cfigure id=\"attachment_11021757\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg\" alt=\"(Photo: Courtesy Atlantic Records)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Courtesy Atlantic Records)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nimble Gamine: Christine and the Queens\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Christine and the Queens\u003c/em> (Because/Neon Gold/Atlantic; out Oct. 16)\u003c/p>\n\u003cp>\u003cstrong>Who’s Christine?\u003c/strong>: Héloïse Letissier\u003c/p>\n\u003cp>\u003cstrong>Who are the Queens?\u003c/strong>: Inspired by local drag musicians at Madame Jojo’s bar in London’s Soho district, Letissier has been accompanied by trans performers like Russella. Hence, the Queens. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Austere androgynous chic. Read: a no-nonsense lob and androgynous suits and oxfords. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Paris and Nantes, France, where she grew up with a poster of Klaus Nomi on the wall. Videos like the new one for “Paradis Perdus” that refuse to trade on traditional feminine sexuality and instead bury Letissier in a hulking pink suit reminiscent of the stuff in David Byrne’s \u003cem>Stop Making Sense\u003c/em> closet. Tours like her current one with Marina and the Diamonds. The Victoires de la Musique or the French Grammys, where she was named female artist of the year and earned music video of the year for the “Saint Claude” clip. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Hip-hop has left its mark on Letissier’s music with sonic nods to Kanye West, airy and beat-centered arrangements, and agile switch-ups between French and English. Yet the performer sidesteps overt stereotypical aggression in favor of choices that are decidedly more elusive, light-footed, and original. Contributors like Perfume Genius and Tunji Ige keep matters from getting too hermetic.\u003cbr>\n\u003cstrong>\u003cbr>\nHow Bush/Björk are we talking?\u003c/strong>: Letissier’s astral beats tip a hat to Björk, and her irrepressible footwork and quirk-ridden choreography shake a jazz hand at Bush.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Marina and the Diamonds and Christine and the Queens perform Oct. 20–21 at the Fox Theater, 1807 Telegraph Ave., Oakland. 8pm, $35. \u003ca href=\"http://www.apeconcerts.com/event/954787-marina-diamonds-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Florence and the Machine play Oct. 21–22 at the Greek Theatre, UC Berkeley, 2001 Gayley Road, Berkeley. 7pm, $60.50. The Ghost of a Saber Tooth Tiger opens. \u003ca href=\"http://www.apeconcerts.com/event/896787-florence-machine-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hail Kate, full of grace, these ladies are with thee. Blessed art Björk among singer-songwriters and blessed is the fruit of thy “Homogenic.” Ah-\u003cem>women\u003c/em>. \u003c/p>\n\u003cp>So the prayer might go for Florence Welch of Florence and the Machine, Marina Diamandis of Marina and the Diamonds, and Héloïse Letissier of Christine and the Queens, because the three have more in common than their similar band names. These are the spiritual daughters of Kate Bush and Björk, surfing their own unpredictable waves of eccentric art rock/pop, in the wake of boldly original, feminine forbearers who never shrank from potentially cheesy dance moves or crackling ice samples. This week in the Bay Area, catch, but don’t bottle, the three upstarts’ quicksilver brilliance. \u003c/p>\n\u003cp>What do they share? The first, best adjective for these ladies’ every move is “ambitious.” Their grip on the wild horses of melody is serenely authoritative, their beats frisky, their vocals gusty and oft lusty. Too cool for the Eurovision school, they’ve got their vision goggles in place and all write their own songs. Their penchant for passionate displays is matched only by their knack for movement and performance — snap, go the Danskins, Kate. Their command of the club floor has the potential to twirl Björk’s knobs. \u003c/p>\n\u003cp>Judging from these first-name-basis lasses’ latest music, there’s a songwriter begat by Kate Bush and Björk for every occasion. And you will know them by this handy identification guide… \u003c/p>\n\u003cfigure id=\"attachment_11021750\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg\" alt=\"(Photo: Tom Beard)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/FlorenceInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Tom Beard)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lush Romantic: Florence and the Machine \u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>How Big, How Blue, How Beautiful\u003c/em> (Island)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Who’s Florence?\u003c/strong>: Florence Welch \u003c/p>\n\u003cp>\u003cstrong>What’s the Machine?\u003c/strong>: It’s a joking nickname for longtime collaborator Isabella Summers — the Machine to Welch’s Robot. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Florence Welch’s pre-Raphaelite profile and flurry of red tresses, flung with drama-class, high-ginger abandon. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: The MTV Video Music Awards 2010, where Flo and the Mach first dropped a swirl of romantic chiffon on mainstream TV audiences. \u003cem>Vogue\u003c/em>. A clamshell on the 2012 Chanel runway, where Welch was cast a singing pearl by Karl Lagerfeld. Blake Lively and Ryan Reynolds’ wedding, for which Welch performed. This spring’s Coachella, where Welch broke her foot. This year’s Glastonbury Festival as the first female-fronted headliner since 1999, according to \u003cem>The Guardian\u003c/em>. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Florence and the Machine’s opulent art-rock got bigger, deeper, and more lavishly detailed with \u003cem>How Big, How Blue, How Beautiful\u003c/em>. Is it a concept LP about LA witchcraft circles, as Welch hinted to \u003cem>NME\u003c/em> this summer? Certainly the title track nudges that notion with lyrics like “Between a crucifix and the Hollywood sign, we decided to get hurt / Now there’s a few things we have to burn,” and bonus demo track “Which Witch.” All allude to womanly power and usher in Biblical, saintly and mythological female icons (the gospel-tinged “Delilah,” “St. Jude”).\u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Well, a writer for MTV Style confessed in 2012, “if there’s anyone who’s a human unicorn besides Björk, it would be [Welch].” Welch also sought out producer Markus Dravs, who helmed Björk’s \u003cem>Homogenic\u003c/em>, because it was such an important recording in her development. Welch’s inspired, rock-operatic “Odyssey” videos for \u003cem>How Big\u003c/em>’s “What Kind of Man,” “Ship to Wreck,” “St. Jude,” “Queen of Peace,” and “Long & Lost” would also make the capering, miming “Wuthering Heights”-era Kate Bush proud. \u003c/p>\n\u003cfigure id=\"attachment_11021752\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg\" alt=\"(Photo: Charlotte Rutherford)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/MarinaInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Charlotte Rutherford)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Disco Dark Horse: Marina and the Diamonds\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Froot\u003c/em> (Atlantic)\u003c/p>\n\u003cp>\u003cstrong>Who’s Marina?\u003c/strong>: Marina Diamandis\u003c/p>\n\u003cp>\u003cstrong>Who are the Diamonds?\u003c/strong>: The Welsh singer-songwriter is having a little pun fun with her Greek father’s name. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Style reinvention is the name of the image game for Diamandis, who has gone from brunette to bubblegum pop-tart blond to dark-haired vixen once again. She also can’t resist a cute costume — whether it’s “vintage, cheerleader, cartoon,” she told The Walk. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Wales and Greece, where Diamandis has lived, and a window display for Selfridges in London, which she designed and populated herself as a live mannequin.\u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: “Froot” sees Diamandis dominating the dance floor and skillfully wielding synthpop hooks, all on her own: she wrote all the songs and co-produced with David Kosten, rather than pulling a standard pop move and bringing in a cadre of producers and songwriters. The result echoes with inspirations ranging from David Bowie (“Gold”) to Rihanna (“Weeds”), though shockingly infectious tracks like “I’m a Ruin” and “Better Than That” sound distinctively original — and like well-polished Top 40. \u003c/p>\n\u003cp>\u003cstrong>How Bush/Björk are we talking?\u003c/strong>: Proudly describing herself as feminist, Diamandis owns up to loving Kate Bush and outsider songwriting savant Daniel Johnston as well as Britney Spears and Annie. Her Bush-like video for “I’m a Ruin,” which finds her contorting on a barren plain, does nothing to dispel her potential as a chart-topping weirdnik. She’d also likely don Björk’s swan dress in a honking second. \u003c/p>\n\u003cfigure id=\"attachment_11021757\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg\" alt=\"(Photo: Courtesy Atlantic Records)\" width=\"425\" height=\"600\" class=\"size-medium wp-image-11021757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/ChristineInline.jpg 566w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">(Photo: Courtesy Atlantic Records)\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nimble Gamine: Christine and the Queens\u003c/h3>\n\u003cp>\u003cstrong>New Album\u003c/strong>: \u003cem>Christine and the Queens\u003c/em> (Because/Neon Gold/Atlantic; out Oct. 16)\u003c/p>\n\u003cp>\u003cstrong>Who’s Christine?\u003c/strong>: Héloïse Letissier\u003c/p>\n\u003cp>\u003cstrong>Who are the Queens?\u003c/strong>: Inspired by local drag musicians at Madame Jojo’s bar in London’s Soho district, Letissier has been accompanied by trans performers like Russella. Hence, the Queens. \u003c/p>\n\u003cp>\u003cstrong>Characteristics\u003c/strong>: Austere androgynous chic. Read: a no-nonsense lob and androgynous suits and oxfords. \u003c/p>\n\u003cp>\u003cstrong>Habitat\u003c/strong>: Paris and Nantes, France, where she grew up with a poster of Klaus Nomi on the wall. Videos like the new one for “Paradis Perdus” that refuse to trade on traditional feminine sexuality and instead bury Letissier in a hulking pink suit reminiscent of the stuff in David Byrne’s \u003cem>Stop Making Sense\u003c/em> closet. Tours like her current one with Marina and the Diamonds. The Victoires de la Musique or the French Grammys, where she was named female artist of the year and earned music video of the year for the “Saint Claude” clip. \u003c/p>\n\u003cp>\u003cstrong>Sound\u003c/strong>: Hip-hop has left its mark on Letissier’s music with sonic nods to Kanye West, airy and beat-centered arrangements, and agile switch-ups between French and English. Yet the performer sidesteps overt stereotypical aggression in favor of choices that are decidedly more elusive, light-footed, and original. Contributors like Perfume Genius and Tunji Ige keep matters from getting too hermetic.\u003cbr>\n\u003cstrong>\u003cbr>\nHow Bush/Björk are we talking?\u003c/strong>: Letissier’s astral beats tip a hat to Björk, and her irrepressible footwork and quirk-ridden choreography shake a jazz hand at Bush.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Marina and the Diamonds and Christine and the Queens perform Oct. 20–21 at the Fox Theater, 1807 Telegraph Ave., Oakland. 8pm, $35. \u003ca href=\"http://www.apeconcerts.com/event/954787-marina-diamonds-oakland/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Florence and the Machine play Oct. 21–22 at the Greek Theatre, UC Berkeley, 2001 Gayley Road, Berkeley. 7pm, $60.50. The Ghost of a Saber Tooth Tiger opens. \u003ca href=\"http://www.apeconcerts.com/event/896787-florence-machine-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer",
"headTitle": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n",
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"excerpt": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"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",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"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",
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"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",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"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",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"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": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
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