Listen In is a KQED Arts podcast hosted by Max Savage Levenson, who sits down with indie bands in the Bay Area to discuss and dissect their latest singles and albums. Casual but insightful, the conversation always offers a window into the creative process of the latest breaking music from Oakland, San Francisco and beyond.
Listen In: Bob Mould, 'Voices in My Head'
Listen In: Antique Naked Soul, 'Burn'
Listen In: Dan Deacon, 'When I Was Done Dying'
Listen In: Lianne La Havas, 'Midnight'
Listen In: Thao & the Get Down Stay Down, 'Nobody Dies'
Listen In: Spooky Mansion, 'Gone Too Far'
Listen In: Whiskerman, "Otis"
Listen In: Max's Musical Moments of 2015 (feat. 'Kanye West')
Listen In: K. Flay, "It's Strange" (with Louis the Child)
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A lot of different things had happened over the past handful of years in my life, a lot of personal loss — people passing, people leaving, people getting sick. It was nice to take those six months to heal myself and sort of reflect on things.”\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266636068″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>In the six years that former Hüsker Dü frontman Bob Mould has lived in San Francisco, he’s been a \u003ca href=\"http://bobmould.com/2014/02/20/punk-rock-fancy-dj-night-debuts-at-noise-pop-opening-party-225/\" target=\"_blank\" rel=\"noopener\">club DJ\u003c/a>, an \u003ca href=\"http://www.bookforum.com/review/8322\" target=\"_blank\" rel=\"noopener\">author\u003c/a>, and an \u003ca href=\"http://www.sfweekly.com/shookdown/2014/11/26/bob-mould-is-busking-for-the-homeless-with-margaret-cho-in-the-tl-right-now\" target=\"_blank\" rel=\"noopener\">advocate for the homeless\u003c/a>. But it’s Mould as songwriter that we’ve known and loved the longest, and nowhere is his talent more present than on his latest album, \u003cem>Patch the Sky\u003c/em>.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Mould stops by KQED’s studios to discuss the themes and details of album opener “Voices in My Head” — a song, he explains, that came after a long period of personal loss and reckoning, and one of 50 songs that emerged from a hailstorm of songwriting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Other songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band”\u003cbr>\nHenry Gross, “Shannon”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003cstrong>Subscribe\u003c/strong> to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The former Hüsker Dü frontman stops by KQED to discuss the details and themes in his recent album with 'Listen In' host Max Savage Levenson.","status":"publish","parent":0,"modified":1705034075,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":274},"headData":{"title":"Listen In: Bob Mould, 'Voices in My Head' | KQED","description":"The former Hüsker Dü frontman stops by KQED to discuss the details and themes in his recent album with 'Listen In' host Max Savage Levenson.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Bob Mould, 'Voices in My Head'","datePublished":"2016-05-30T19:00:22.000Z","dateModified":"2024-01-12T04:34:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"nprStoryId":"480047096","path":"/arts/11631629/listen-in-bob-mould-voices-in-my-head","audioUrl":"http://www.kqed.org/.stream/anon/radio/2016/06/BobMouldListenIn.mp3","audioDuration":382000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I was taking a break from everything. A lot of different things had happened over the past handful of years in my life, a lot of personal loss — people passing, people leaving, people getting sick. It was nice to take those six months to heal myself and sort of reflect on things.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/266636068″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/266636068″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the six years that former Hüsker Dü frontman Bob Mould has lived in San Francisco, he’s been a \u003ca href=\"http://bobmould.com/2014/02/20/punk-rock-fancy-dj-night-debuts-at-noise-pop-opening-party-225/\" target=\"_blank\" rel=\"noopener\">club DJ\u003c/a>, an \u003ca href=\"http://www.bookforum.com/review/8322\" target=\"_blank\" rel=\"noopener\">author\u003c/a>, and an \u003ca href=\"http://www.sfweekly.com/shookdown/2014/11/26/bob-mould-is-busking-for-the-homeless-with-margaret-cho-in-the-tl-right-now\" target=\"_blank\" rel=\"noopener\">advocate for the homeless\u003c/a>. But it’s Mould as songwriter that we’ve known and loved the longest, and nowhere is his talent more present than on his latest album, \u003cem>Patch the Sky\u003c/em>.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Mould stops by KQED’s studios to discuss the themes and details of album opener “Voices in My Head” — a song, he explains, that came after a long period of personal loss and reckoning, and one of 50 songs that emerged from a hailstorm of songwriting.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Other songs heard in this episode:\u003c/strong>\u003c/p>\n\u003cp>The Beatles, “Sgt. Pepper’s Lonely Hearts Club Band”\u003cbr>\nHenry Gross, “Shannon”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\n\u003cstrong>Subscribe\u003c/strong> to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" 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music using only their voices, and “Burn” may be their most powerful statement yet.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/264426838″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Oakland quartet Antique Naked Soul discuss their new single “Burn,” a powerful, politically-charged song created solely from vocals and beat-boxing.","status":"publish","parent":0,"modified":1705034210,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":105},"headData":{"title":"Listen In: Antique Naked Soul, 'Burn' | KQED","description":"Oakland quartet Antique Naked Soul discuss their new single “Burn,” a powerful, politically-charged song created solely from vocals and beat-boxing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Antique Naked Soul, 'Burn'","datePublished":"2016-05-16T19:00:20.000Z","dateModified":"2024-01-12T04:36:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"nprStoryId":"478262367","path":"/arts/11574661/listen-in-antique-naked-soul-burn","audioUrl":"http://www.kqed.org/.stream/anon/radio//2016/05/AntiqueNakedSoulListenIn.mp3","audioDuration":519000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this episode of the podcast, host Max Savage Levenson meets up to eat tacos and chat with Antique Naked Soul about their new single “Burn.” The Oakland four-piece create a unique brand of politically-charged R&B and soul music using only their voices, and “Burn” may be their most powerful statement yet.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/264426838″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/264426838″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11574661/listen-in-antique-naked-soul-burn","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_69"],"tags":["arts_1037","arts_1118","arts_596"],"featImg":"arts_11587485","label":"arts_1392"},"arts_11463955":{"type":"posts","id":"arts_11463955","meta":{"index":"posts_1591205157","site":"arts","id":"11463955","score":null,"sort":[1459807259000]},"guestAuthors":[],"slug":"listen-in-dan-deacon-when-i-was-done-dying","title":"Listen In: Dan Deacon, 'When I Was Done Dying'","publishDate":1459807259,"format":"audio","headTitle":"Listen In: Dan Deacon, ‘When I Was Done Dying’ | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dan Deacon, “The Crystal Cat”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The fun-loving, philosophical electronic artist Dan Deacon discusses his upbeat-yet-pensive composition 'When I Was Done Dying' with 'Listen In' host Max Savage Levenson.","status":"publish","parent":0,"modified":1705044678,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":289},"headData":{"title":"Listen In: Dan Deacon, 'When I Was Done Dying' | KQED","description":"The fun-loving, philosophical electronic artist Dan Deacon discusses his upbeat-yet-pensive composition 'When I Was Done Dying' with 'Listen In' host Max Savage Levenson.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Dan Deacon, 'When I Was Done Dying'","datePublished":"2016-04-04T22:00:59.000Z","dateModified":"2024-01-12T07:31:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11463955/listen-in-dan-deacon-when-i-was-done-dying","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3","audioDuration":471000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Anyone who had someone close to them die as a child, you think a lot about death and… what the purpose of life is. And if there isn’t one, that’s just as fine and valid, but what do you do with your time here?”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Dan Deacon, ‘When I Was Done Dying’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/2016/04/DanDeacon.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Dan Deacon’s music is visceral. It inspires his rabid fans, crowded around as he performs on venue floors, to dance, laugh and lose themselves in communal euphoria. Were he to switch his bleeping synthesizers and zany vocal effects for drums and flutes, his performances would feel much more like 1968 than 2016. Deacon distorts and manipulates his voice to the point of being barely comprehensible — it’s not his lyrics that resonate; it’s the giddy rush.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Yet “When I was Done Dying,” from last year’s \u003cem>Gliss Riffer\u003c/em>, offers something markedly different. Sung in a clear voice that touches on profound themes of existence, birth and rebirth, it marks a distinct shift in Deacon’s approach to songwriting. Listen in as Deacon explains the life experiences and philosophies that inspired the song on this episode of the podcast, recorded at Zeitgeist Management in San Francisco’s Mission District.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dan Deacon, “The Crystal Cat”\u003c/p>\n\u003cp>\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11463955/listen-in-dan-deacon-when-i-was-done-dying","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_69"],"tags":["arts_1118","arts_1207","arts_596"],"featImg":"arts_11464203","label":"arts_1392"},"arts_11356084":{"type":"posts","id":"arts_11356084","meta":{"index":"posts_1591205157","site":"arts","id":"11356084","score":null,"sort":[1459202416000]},"guestAuthors":[],"slug":"listen-in-lianne-la-havas-midnight","title":"Listen In: Lianne La Havas, 'Midnight'","publishDate":1459202416,"format":"audio","headTitle":"Listen In: Lianne La Havas, ‘Midnight’ | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Grammy-nominated singer-songwriter Lianne La Havas discusses the themes and songwriting process of her song \"Midnight\" with 'Listen In' host Max Savage Levenson.","status":"publish","parent":0,"modified":1705044747,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":216},"headData":{"title":"Listen In: Lianne La Havas, 'Midnight' | KQED","description":"Grammy-nominated singer-songwriter Lianne La Havas discusses the themes and songwriting process of her song "Midnight" with 'Listen In' host Max Savage Levenson.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Lianne La Havas, 'Midnight'","datePublished":"2016-03-28T22:00:16.000Z","dateModified":"2024-01-12T07:32:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11356084/listen-in-lianne-la-havas-midnight","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3","audioDuration":473000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My voice was released. I found all these new places it could go, from having just done this one song.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Lianne La Havas, ‘Midnight’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/Lianne.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>There are plenty of songs about independence; songs that give a bold middle finger to controlling men (Destiny’s Child’s “Independent Women”), silly societal expectations (“Ziggy Stardust”), and even colonizing imperialists (“The Star Spangled Banner”).\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>But Lianne La Havas’ “Midnight” is special; it doesn’t merely celebrate self-reliance and the value of solitude, it invites you into that place as well. In this episode of the podcast — recorded at San Francisco’s very echo-y Swedish American Music Hall — listen in as La Havas recounts the trip to Jamaica that inspired “Midnight,” why its chord progression might remind you of Beyoncé, and how the song made her a more confident singer.\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\nSubscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11356084/listen-in-lianne-la-havas-midnight","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_69"],"tags":["arts_1118","arts_1207","arts_596"],"featImg":"arts_11444464","label":"arts_1392"},"arts_11379456":{"type":"posts","id":"arts_11379456","meta":{"index":"posts_1591205157","site":"arts","id":"11379456","score":null,"sort":[1457380842000]},"guestAuthors":[],"slug":"listen-in-thao-the-get-down-stay-down-nobody-dies","title":"Listen In: Thao & the Get Down Stay Down, 'Nobody Dies'","publishDate":1457380842,"format":"audio","headTitle":"Listen In: Thao & the Get Down Stay Down, ‘Nobody Dies’ | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>“I wanted to be a lot more emotive and vulnerable with my voice… For this one, I wanted to be just raw and screaming.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Thao & the Get Down Stay Down, ‘Nobody Dies’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/03/2016-03-07-Thao.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Thao Nguyen, frontwoman for Thao & the Get Down Stay Down, sheds light on the music and the personal experiences that inspired “Nobody Dies,” the lead single from the band’s new album \u003cem>A Man Alive. \u003c/em>Drawing from a wide range of sources including John Lennon’s vocal shredding, the Pixies’ pummeling minimalism and Thao’s own family history, “Nobody Dies” skillfully swirls fist-pumping rock with painful introspection to create one of the most memorable songs in Thao’s ever-growing catalog.\u003c/p>\n\u003cp>This episode of the podcast was recorded on Guerrero Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Pixies, “Gigantic”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Lennon, “Mother”\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"\"I wanted to be a lot more emotive and vulnerable with my voice... For this one, I wanted to be just raw and screaming.\"","status":"publish","parent":0,"modified":1705044923,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":193},"headData":{"title":"Listen In: Thao & the Get Down Stay Down, 'Nobody Dies' | KQED","description":""I wanted to be a lot more emotive and vulnerable with my voice... For this one, I wanted to be just raw and screaming."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Thao & the Get Down Stay Down, 'Nobody Dies'","datePublished":"2016-03-07T20:00:42.000Z","dateModified":"2024-01-12T07:35:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11379456/listen-in-thao-the-get-down-stay-down-nobody-dies","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio/listen-in/2016/03/2016-03-07-Thao.mp3","audioDuration":497000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I wanted to be a lot more emotive and vulnerable with my voice… For this one, I wanted to be just raw and screaming.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Thao & the Get Down Stay Down, ‘Nobody Dies’\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/03/2016-03-07-Thao.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Thao Nguyen, frontwoman for Thao & the Get Down Stay Down, sheds light on the music and the personal experiences that inspired “Nobody Dies,” the lead single from the band’s new album \u003cem>A Man Alive. \u003c/em>Drawing from a wide range of sources including John Lennon’s vocal shredding, the Pixies’ pummeling minimalism and Thao’s own family history, “Nobody Dies” skillfully swirls fist-pumping rock with painful introspection to create one of the most memorable songs in Thao’s ever-growing catalog.\u003c/p>\n\u003cp>This episode of the podcast was recorded on Guerrero Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>\u003cem>Additional songs heard in this episode:\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Pixies, “Gigantic”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>John Lennon, “Mother”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11379456/listen-in-thao-the-get-down-stay-down-nobody-dies","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_69"],"tags":["arts_1207","arts_596"],"featImg":"arts_11386674","label":"arts_1392"},"arts_11280343":{"type":"posts","id":"arts_11280343","meta":{"index":"posts_1591205157","site":"arts","id":"11280343","score":null,"sort":[1454022059000]},"guestAuthors":[],"slug":"listen-in-spooky-mansions-gone-too-far","title":"Listen In: Spooky Mansion, 'Gone Too Far'","publishDate":1454022059,"format":"audio","headTitle":"Listen In: Spooky Mansion, ‘Gone Too Far’ | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>When have things simply gone too far? Is it when you announce that \u003ca href=\"http://www.cnn.com/2016/01/23/politics/donald-trump-shoot-somebody-support/\" target=\"_blank\" rel=\"noopener\">you could shoot someone on the street\u003c/a> and not lose a vote? When \u003ca href=\"http://www.newyorker.com/magazine/2015/12/21/the-siege-of-miami\" target=\"_blank\" rel=\"noopener\">Miami is underwater\u003c/a>? Or maybe when you tell Wiz Khalifa that you “\u003ca href=\"http://www.thewrap.com/kanye-west-aims-twitter-fury-at-wiz-khalifa-i-own-your-child/\">own his child\u003c/a>?” For Grayson Converse, frontman of San Francisco four-piece Spooky Mansion, things crossed a line one bizarre night in the south of France.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Spooky Mansion, “Gone Too Far”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/01/listeninspookiestMansion.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Converse and his bandmates discuss the bizarre series of events that inspired “Gone Too Far,” its “haunted church” guitar tones, and what happens when you grow up only listening to Bob Dylan in this episode of the podcast, recorded outside Revolution Cafe in San Francisco’s Mission District.\u003c/p>\n\u003cp>Be sure to catch Spooky Mansion when they play \u003ca href=\"http://www.makeoutroom.com/events/saturday-january-30\">the last night of their January residency\u003c/a> this Saturday at the Make-Out Room, alongside San Francisco’s \u003cstrong>O\u003c/strong> and \u003cstrong>Bear Call\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Listen in as Spooky Mansion discuss the wild story behind their latest single, \"Gone Too Far,\" outside Revolution Cafe in San Francisco.","status":"publish","parent":0,"modified":1705045305,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":182},"headData":{"title":"Listen In: Spooky Mansion, 'Gone Too Far' | KQED","description":"Listen in as Spooky Mansion discuss the wild story behind their latest single, "Gone Too Far," outside Revolution Cafe in San Francisco.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Spooky Mansion, 'Gone Too Far'","datePublished":"2016-01-28T23:00:59.000Z","dateModified":"2024-01-12T07:41:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"464763839","path":"/arts/11280343/listen-in-spooky-mansions-gone-too-far","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio//2016/02/2016-01-27-SpookyMansion.mp3","audioDuration":622000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When have things simply gone too far? Is it when you announce that \u003ca href=\"http://www.cnn.com/2016/01/23/politics/donald-trump-shoot-somebody-support/\" target=\"_blank\" rel=\"noopener\">you could shoot someone on the street\u003c/a> and not lose a vote? When \u003ca href=\"http://www.newyorker.com/magazine/2015/12/21/the-siege-of-miami\" target=\"_blank\" rel=\"noopener\">Miami is underwater\u003c/a>? Or maybe when you tell Wiz Khalifa that you “\u003ca href=\"http://www.thewrap.com/kanye-west-aims-twitter-fury-at-wiz-khalifa-i-own-your-child/\">own his child\u003c/a>?” For Grayson Converse, frontman of San Francisco four-piece Spooky Mansion, things crossed a line one bizarre night in the south of France.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen In: Spooky Mansion, “Gone Too Far”\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/listen-in/2016/01/listeninspookiestMansion.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Listen in as Converse and his bandmates discuss the bizarre series of events that inspired “Gone Too Far,” its “haunted church” guitar tones, and what happens when you grow up only listening to Bob Dylan in this episode of the podcast, recorded outside Revolution Cafe in San Francisco’s Mission District.\u003c/p>\n\u003cp>Be sure to catch Spooky Mansion when they play \u003ca href=\"http://www.makeoutroom.com/events/saturday-january-30\">the last night of their January residency\u003c/a> this Saturday at the Make-Out Room, alongside San Francisco’s \u003cstrong>O\u003c/strong> and \u003cstrong>Bear Call\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11280343/listen-in-spooky-mansions-gone-too-far","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_71","arts_69"],"tags":["arts_1207","arts_596"],"featImg":"arts_11283072","label":"arts_1392"},"arts_11222699":{"type":"posts","id":"arts_11222699","meta":{"index":"posts_1591205157","site":"arts","id":"11222699","score":null,"sort":[1452182400000]},"guestAuthors":[],"slug":"listen-in-whiskerman-otis","title":"Listen In: Whiskerman, \"Otis\"","publishDate":1452182400,"format":"audio","headTitle":"Listen In: Whiskerman, “Otis” | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>I’d heard through the grapevine that Whiskerman frontman Graham Patzner wrote “Otis” about his infant son, and thus I hoped our interview would be an opportunity to discover what Patzner’s vivid and peculiar lyrics have to do with fatherhood; namely, lines about having a vulture in one’s mouth, and giving some king a ring on the phone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/240777434″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>What I discovered upon chatting with Patzner is that “Otis” — the leadoff track to the band’s new album \u003cem>Nomad\u003c/em> — is much more than an ode to fatherhood; it’s an account of self-empowerment and self-realization, seen through the eyes of someone who may have lost sight of himself along the way.\u003c/p>\n\u003cp>Listen in as Patzner discusses the inspirational landscapes of Lake County, his connection to Berkeley’s Medicine Path Native American church, and why he perceives “Otis” as a prayer for inner peace in this episode of the podcast — recorded at \u003ca href=\"http://www.farleyscoffee.com/farleys-65th/\" target=\"_blank\" rel=\"noopener\">Farley’s on 65th Street\u003c/a> in Emeryville, over a bowl of beef and barley soup.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Whiskerman play a vinyl release show for ‘Nomad’ at the Great American Music Hall on Friday, Jan. 8; \u003ca href=\"https://www.facebook.com/events/617026595104309/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Max Savage Levenson talks with Whiskerman frontman Graham Patzner about the band's single, \"Otis.\"","status":"publish","parent":0,"modified":1705045504,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":260},"headData":{"title":"Listen In: Whiskerman, \"Otis\" | KQED","description":"Max Savage Levenson talks with Whiskerman frontman Graham Patzner about the band's single, "Otis."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Whiskerman, \"Otis\"","datePublished":"2016-01-07T16:00:00.000Z","dateModified":"2024-01-12T07:45:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"462576497","path":"/arts/11222699/listen-in-whiskerman-otis","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio//2016/02/2016-01-07-Whiskerman.mp3","audioDuration":330000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’d heard through the grapevine that Whiskerman frontman Graham Patzner wrote “Otis” about his infant son, and thus I hoped our interview would be an opportunity to discover what Patzner’s vivid and peculiar lyrics have to do with fatherhood; namely, lines about having a vulture in one’s mouth, and giving some king a ring on the phone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/240777434″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/240777434″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>What I discovered upon chatting with Patzner is that “Otis” — the leadoff track to the band’s new album \u003cem>Nomad\u003c/em> — is much more than an ode to fatherhood; it’s an account of self-empowerment and self-realization, seen through the eyes of someone who may have lost sight of himself along the way.\u003c/p>\n\u003cp>Listen in as Patzner discusses the inspirational landscapes of Lake County, his connection to Berkeley’s Medicine Path Native American church, and why he perceives “Otis” as a prayer for inner peace in this episode of the podcast — recorded at \u003ca href=\"http://www.farleyscoffee.com/farleys-65th/\" target=\"_blank\" rel=\"noopener\">Farley’s on 65th Street\u003c/a> in Emeryville, over a bowl of beef and barley soup.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Whiskerman play a vinyl release show for ‘Nomad’ at the Great American Music Hall on Friday, Jan. 8; \u003ca href=\"https://www.facebook.com/events/617026595104309/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11222699/listen-in-whiskerman-otis","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_71","arts_69"],"tags":["arts_1207","arts_596"],"featImg":"arts_11226359","label":"arts_1392"},"arts_11186686":{"type":"posts","id":"arts_11186686","meta":{"index":"posts_1591205157","site":"arts","id":"11186686","score":null,"sort":[1451343622000]},"guestAuthors":[],"slug":"listen-in-maxs-musical-moments-of-2015-feat-kanye-west","title":"Listen In: Max's Musical Moments of 2015 (feat. 'Kanye West')","publishDate":1451343622,"format":"audio","headTitle":"Listen In: Max’s Musical Moments of 2015 (feat. ‘Kanye West’) | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>Cold and despondent on a rainy December afternoon, host Max Savage Levenson sets out to sing the praises of some of his favorite Bay Area tunes of 2015… all by his lonesome self.\u003c/p>\n\u003cp>But wait! Levenson then receives a messianic visit from one of his lifelong heroes, who glides through his year-end selections with staggering wisdom and profound insight! Listen in as Levenson and co-host \u003cstrong>Kanye West\u003c/strong> (appearing as a podcast’s closest approximation of a Tupac hologram) discuss\u003cstrong> \u003ca href=\"http://ideatheartist.com/#home\">Idea the Artist\u003c/a>\u003c/strong>’s vocal arrangements, \u003cstrong>\u003ca href=\"http://www.dodosmusic.net/\">the Dodos\u003c/a>\u003c/strong>’ lurching guitars, \u003cstrong>\u003ca href=\"http://waterstridermusic.com\">Waterstrider\u003c/a>\u003c/strong>’s epic vocals and much more on this episode of the podcast.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/239463775″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Songs Heard in This Episode of ‘Listen In’:\u003c/strong>\u003c/p>\n\u003cp>Idea the Artist – “The Ceiling”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Dodos – “The Tide”\u003c/p>\n\u003cp>Waterstrider- “Passing Ships”\u003c/p>\n\u003cp>Makeunder – “Plain Tendency”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Astronauts, etc. – “Upward Swing”\u003c/p>\n\n","blocks":[],"excerpt":"Max Savage Levenson and special guest \"Kanye West\" discuss Levenson's favorite musical moments from Bay Area indie bands in the year 2015.","status":"publish","parent":0,"modified":1705045584,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":199},"headData":{"title":"Listen In: Max's Musical Moments of 2015 (feat. 'Kanye West') | KQED","description":"Max Savage Levenson and special guest "Kanye West" discuss Levenson's favorite musical moments from Bay Area indie bands in the year 2015.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: Max's Musical Moments of 2015 (feat. 'Kanye West')","datePublished":"2015-12-28T23:00:22.000Z","dateModified":"2024-01-12T07:46:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"465835776","path":"/arts/11186686/listen-in-maxs-musical-moments-of-2015-feat-kanye-west","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio//2016/02/2015-12-28-YearEnd.mp3","audioDuration":454000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cold and despondent on a rainy December afternoon, host Max Savage Levenson sets out to sing the praises of some of his favorite Bay Area tunes of 2015… all by his lonesome self.\u003c/p>\n\u003cp>But wait! Levenson then receives a messianic visit from one of his lifelong heroes, who glides through his year-end selections with staggering wisdom and profound insight! Listen in as Levenson and co-host \u003cstrong>Kanye West\u003c/strong> (appearing as a podcast’s closest approximation of a Tupac hologram) discuss\u003cstrong> \u003ca href=\"http://ideatheartist.com/#home\">Idea the Artist\u003c/a>\u003c/strong>’s vocal arrangements, \u003cstrong>\u003ca href=\"http://www.dodosmusic.net/\">the Dodos\u003c/a>\u003c/strong>’ lurching guitars, \u003cstrong>\u003ca href=\"http://waterstridermusic.com\">Waterstrider\u003c/a>\u003c/strong>’s epic vocals and much more on this episode of the podcast.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/239463775″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/239463775″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Songs Heard in This Episode of ‘Listen In’:\u003c/strong>\u003c/p>\n\u003cp>Idea the Artist – “The Ceiling”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Dodos – “The Tide”\u003c/p>\n\u003cp>Waterstrider- “Passing Ships”\u003c/p>\n\u003cp>Makeunder – “Plain Tendency”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Astronauts, etc. – “Upward Swing”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11186686/listen-in-maxs-musical-moments-of-2015-feat-kanye-west","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_71","arts_69"],"tags":["arts_1207","arts_596"],"featImg":"arts_11201063","label":"arts_1392"},"arts_11151917":{"type":"posts","id":"arts_11151917","meta":{"index":"posts_1591205157","site":"arts","id":"11151917","score":null,"sort":[1450134029000]},"guestAuthors":[],"slug":"listen-in-k-flay-its-strange-with-louis-the-child","title":"Listen In: K. Flay, \"It's Strange\" (with Louis the Child)","publishDate":1450134029,"format":"audio","headTitle":"Listen In: K. Flay, “It’s Strange” (with Louis the Child) | KQED","labelTerm":{"term":1392,"site":"arts"},"content":"\u003cp>As Freud might say, “Sometimes an EDM drop is just an EDM drop.”\u003c/p>\n\u003cp>But more often, a \u003ca href=\"https://en.wikipedia.org/wiki/Drop_%28music%29\" target=\"_blank\" rel=\"noopener\">drop\u003c/a> can add context and depth to a song that might otherwise simply be an excuse to get down. That’s certainly the case for “It’s Strange,” as the ecstatic break courtesy of Chicago production duo \u003ca href=\"http://louisthechild.com/\" target=\"_blank\" rel=\"noopener\">Louis the Child\u003c/a> throws the vulnerability underlying K. Flay’s mournful verses into sharp relief. “It’s Strange” keeps you dancing even as it breaks your heart — a perfect combo that in October even garnered the \u003ca href=\"https://www.instagram.com/p/8hVAsWjvAR/\" target=\"_blank\" rel=\"noopener\">attention of Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/237564175″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Listen in as K. Flay discusses her serendipitous connection to the song’s beatmakers, her Gumby-style dance moves and the personal relationships that inspired “It’s Strange” in this episode of the podcast, recorded in and around San Francisco’s legendary Fillmore Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Max Savage Levenson sits down with K. Flay to discuss her hit single, \"It's Strange.\"","status":"publish","parent":0,"modified":1705045690,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":209},"headData":{"title":"Listen In: K. Flay, \"It's Strange\" (with Louis the Child) | KQED","description":"Max Savage Levenson sits down with K. Flay to discuss her hit single, "It's Strange."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Listen In: K. Flay, \"It's Strange\" (with Louis the Child)","datePublished":"2015-12-14T23:00:29.000Z","dateModified":"2024-01-12T07:48:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"465835816","path":"/arts/11151917/listen-in-k-flay-its-strange-with-louis-the-child","audioUrl":"http://www.kqed.org/.stream/mp3splice/radio//2016/02/2015-12-14-KFlay.mp3","audioDuration":393000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Freud might say, “Sometimes an EDM drop is just an EDM drop.”\u003c/p>\n\u003cp>But more often, a \u003ca href=\"https://en.wikipedia.org/wiki/Drop_%28music%29\" target=\"_blank\" rel=\"noopener\">drop\u003c/a> can add context and depth to a song that might otherwise simply be an excuse to get down. That’s certainly the case for “It’s Strange,” as the ecstatic break courtesy of Chicago production duo \u003ca href=\"http://louisthechild.com/\" target=\"_blank\" rel=\"noopener\">Louis the Child\u003c/a> throws the vulnerability underlying K. Flay’s mournful verses into sharp relief. “It’s Strange” keeps you dancing even as it breaks your heart — a perfect combo that in October even garnered the \u003ca href=\"https://www.instagram.com/p/8hVAsWjvAR/\" target=\"_blank\" rel=\"noopener\">attention of Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/237564175″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/237564175″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Listen in as K. Flay discusses her serendipitous connection to the song’s beatmakers, her Gumby-style dance moves and the personal relationships that inspired “It’s Strange” in this episode of the podcast, recorded in and around San Francisco’s legendary Fillmore Auditorium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11151917/listen-in-k-flay-its-strange-with-louis-the-child","authors":["6624"],"programs":["arts_1392"],"series":["arts_1394"],"categories":["arts_69"],"tags":["arts_1207","arts_596"],"featImg":"arts_11163135","label":"arts_1392"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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