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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/xySHuL7hDEk\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/a3dg-3EXBag\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. This fall the group, led by the charming Geoff Nuttall, is continuing the celebration of its 25th anniversary with a series of concerts at Stanford and around the Bay, including new work written for the quartet by Berkeley’s John Adams and Stanford composers Jonathan Berger and Jaroslaw Kapuscinski. \u003ca href=\"https://live.stanford.edu/calendar/october-2014/st-lawrence-string-quartet\" target=\"_blank\" rel=\"noopener\">Local concerts begin Oct. 19\u003c/a> with one at Bing Hall, and \u003ca href=\"http://calperformances.org/performances/2014-15/chamber-orchestra/st-lawrence-string-quartet.php\" target=\"_blank\" rel=\"noopener\">another Nov. 23\u003c/a> at UC Berkeley’s Hertz Hall.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140839\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140839 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg\" alt=\"Party People; photo: Jenny Graham\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Party People\u003c/i>; photo: Jenny Graham\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Party People\u003c/i>\u003c/h3>\n\u003ch5>Oct. 17 to Nov. 16,\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The NYC troupe Universes debuted this show about the Black Panthers and the Young Lords at the Oregon Shakespeare Festival in 2012. It’s based on interviews with leaders and rank-and-file members of the two radical groups. The formidable Liesl Tommy, Berkeley Rep’s assistant artistic director, is directing as she did in 2012, and she says she’s helping Universes polish the script for an audience that will include some who know the Panthers’ story firsthand. And it’s a musical, filled with jazz, blues, hip-hop, boleros and salsa. A great prelude for the 50th anniversary (1966) of the founding of the Black Panthers in Oakland.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/1QgK7HEZrng\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s \u003cem>The Do List\u003c/em> -- compile their own lists of gold-star arts and entertainment events.",
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"title": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts | KQED",
"description": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s The Do List -- compile their own lists of gold-star arts and entertainment events.",
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"headline": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts",
"datePublished": "2014-09-03T06:00:49-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\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/xySHuL7hDEk'\n title='//www.youtube.com/embed/xySHuL7hDEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\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/a3dg-3EXBag'\n title='//www.youtube.com/embed/a3dg-3EXBag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. This fall the group, led by the charming Geoff Nuttall, is continuing the celebration of its 25th anniversary with a series of concerts at Stanford and around the Bay, including new work written for the quartet by Berkeley’s John Adams and Stanford composers Jonathan Berger and Jaroslaw Kapuscinski. \u003ca href=\"https://live.stanford.edu/calendar/october-2014/st-lawrence-string-quartet\" target=\"_blank\" rel=\"noopener\">Local concerts begin Oct. 19\u003c/a> with one at Bing Hall, and \u003ca href=\"http://calperformances.org/performances/2014-15/chamber-orchestra/st-lawrence-string-quartet.php\" target=\"_blank\" rel=\"noopener\">another Nov. 23\u003c/a> at UC Berkeley’s Hertz Hall.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140839\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140839 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg\" alt=\"Party People; photo: Jenny Graham\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Party People\u003c/i>; photo: Jenny Graham\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Party People\u003c/i>\u003c/h3>\n\u003ch5>Oct. 17 to Nov. 16,\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The NYC troupe Universes debuted this show about the Black Panthers and the Young Lords at the Oregon Shakespeare Festival in 2012. It’s based on interviews with leaders and rank-and-file members of the two radical groups. The formidable Liesl Tommy, Berkeley Rep’s assistant artistic director, is directing as she did in 2012, and she says she’s helping Universes polish the script for an audience that will include some who know the Panthers’ story firsthand. And it’s a musical, filled with jazz, blues, hip-hop, boleros and salsa. A great prelude for the 50th anniversary (1966) of the founding of the Black Panthers in Oakland.\u003c/p>\n\u003c/div>\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/1QgK7HEZrng'\n title='//www.youtube.com/embed/1QgK7HEZrng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Abstract Testimonials: Fall Jazz Around the Bay",
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"headTitle": "Abstract Testimonials: Fall Jazz Around the Bay | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>This fall brings some of jazz’s finest to the Bay Area, from tiny enclaves to large symphonic halls. With a wide variety of styles for nearly everybody, there’s no reason not to take in the constant adventure that is America’s native art form this season. Here are ten of the best upcoming jazz events for fall.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141011\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141011 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jazz.1-400x266.jpg\" alt=\"Bodaboda\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Mezzacappa, at left, and Bodaboda.\u003c/figcaption>\u003c/figure>\n\u003ch3>Bodaboda & Klaxon Mutant Allstars\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nDuende, Oakland\u003cbr>\n\u003ca href=\"http://www.duendeoakland.com/public-events/2014/9/11/lisa-mezzacappas-bodaboda\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Lisa Mezzacappa is a Bay Area treasure, and to this day, the prolific Berkeley bassist and composer remains creative to an almost frightening degree. Mezzacappa has chosen the conspicuous date of Sept. 11 for the Bay Area debut of Bodaboda, her newest and possibly wildest quartet; the group zigzags between Ornette Coleman’s structured \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, unbridled free jazz and an inebriated reinterpretation of circus music. Initially featuring bass clarinet and tuba, but now with guitar and electronics—and sharing a bill with the equally unpredictable Klaxon Mutant Allstars—Bodaboda should serve as a microcosm of all that makes Duende’s booking so unique.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141012\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141012 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.2-400x266.jpg\" alt=\"Ramsey Lewis\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ramsey Lewis, at home at the piano. Photo: Ravinia Festival. \u003ccite>(Photo: Ravinia Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Ramsey Lewis & Cecile McLorin Salvant\u003c/h3>\n\u003ch5>Sept. 20\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2123188-ramsey-lewis-cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>From his 1960s pop-crossover hit “The In Crowd” to his surprisingly rich 1970s fusion experiments, the pianist Ramsey Lewis has retained a singular vision. Though his recent recorded output veers toward synthesisers and swampy funk, Lewis primarily plays acoustic piano in concert, combining his classical training and church upbringing in a trademark, soul-jazz style. (His version of gospel standard “Wade in the Water” is a highlight of his sets.) Here, in the acoustic marvel that is the Green Music Center’s main hall, Lewis shares a bill with Grammy-nominated jazz vocalist and pianist Cécile McLorin Salvant, who inhabits and repossesses each song she soulfully tackles from the Great American Songbook.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141013\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.3-400x266.jpg\" alt=\"The Cookers\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Cookers, an exciting coherence of jazz heavyweights.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Cookers\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/sep26/cookers\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Named for the classic 1965 Blue Note album \u003cem>Night of the Cookers\u003c/em>, this jazz supergroup captures all the invention and explosiveness of hard bop’s heyday. Pianist George Cables may be best known for his subdued ballads with Art Pepper, but he rises to the fire created by hornmen Billy Harper, Donald Harrison, David Weiss and Eddie Henderson. Anchored by a rhythm section of Billy Hart and Cecil McBee, the band never fails to electrify the stage.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141014\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141014\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.4-400x266.jpg\" alt=\"Chuchito Valdes\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chuchito Valdés brings Afro-Cuban fireworks to the keys.\u003c/figcaption>\u003c/figure>\n\u003ch3>Chuchito Valdés\u003c/h3>\n\u003ch5>Sept. 28\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4435\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Being the son of a jazz legend has its downside, but Ravi Coltrane, T.S. Monk and Darius Brubeck have all transcended their bloodline. Adding to that roster is Chuchito Valdés, who’s not only the son of Cuban piano great Chucho Valdés but the grandson of pianist and composer Bebo Valdés. Raised in Havana, Valdés’ style is firmly in the Cuban tradition, bringing rhythmic flair to afro-Cuban jazz, mambo and Cuban son. You know those “blooming flower” fireworks? Light one on a keyboard, and you’ll have a close approximation of what to expect on stage.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141015\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.5-400x266.jpg\" alt=\"Charles Lloyd\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lloyd pushes into Eastern territory with the Sangam Trio.\u003c/figcaption>\u003c/figure>\n\u003ch3>Charles Lloyd with Zakir Hussain & Eric Harland\u003c/h3>\n\u003ch5>Oct. 10-11\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/oct10/sangam\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Zakir Hussain has long reimagined the Indian tabla drum as a jazz instrument, and in recent years has joined a dream team to push its possibilities further. Saxophonist Charles Lloyd continues to amaze into his career’s fifth decade, and you’d be hard pressed to find a better working drummer in jazz than the intensely prodding Eric Harland, who also doubles on piano. Together, the three perform soaring, Eastern-influenced spiritual jazz—imagine if Coltrane had lived to sojurn to India—as the Sangam Trio, who pull miracles out of thin air every time they collaborate.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.6-400x266.jpg\" alt=\"Stanley Clarke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stanley Clarke on acoustic upright bass. Photo: Mike Kurgansky\u003c/figcaption>\u003c/figure>\n\u003ch3>Stanley Clarke Quartet\u003c/h3>\n\u003ch5>Oct. 10-12\u003cbr>\nYoshi’s, San Francisco\u003cbr>\n\u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/4469\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jazz’s favorite ex-Scientologist continues his reign as the genre’s best living electric bassist, and those who decry the amplified instrument will note that he often pulls out the good ol’ wooden upright as well. Since his time with Return to Forever and the chart-topping success of \u003cem>School Days\u003c/em>, Clarke has settled into an explorative sphere that’s got both legs in jazz and only a passing glance at pop. Having Japanese-born virtuoso Hiromi on piano only adds to the riches in this group.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141017\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141017\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.7-400x266.jpg\" alt=\"Dave Douglas & Joe Lovano\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Dave Douglas and Joe Lovano continue to push boundaries. Photo: Alex Chaloff\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Lovano & Dave Douglas: Sound Prints\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4488\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>On his own, saxophonist Joe Lovano can veer into rote balladry, and an unleashed Dave Douglas has a tendency for the avant-garde on trumpet. Put them together in a quintet, and the two men balance each other out perfectly. In the quintet known as Sound Prints, they benefit greatly from Joey Baron’s unmatched drum skills, choice piano courtesy of Lawrence Fields and the rooted bass of Linda Oh. Each set the group plays is like a tightrope act—daring, dramatic, and thrilling to watch.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141018\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.8-400x266.jpg\" alt=\"Robert Walter\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Walter redefines the soul-jazz organ sound.\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Walter’s 20th Congress\u003c/h3>\n\u003ch5>Oct. 23\u003cbr>\nSweetwater Music Hall, Mill Valley\u003cbr>\n\u003ca href=\"http://www.sweetwatermusichall.com/event/649021-robert-walters-20th-congress-mill-valley/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Hammond B-3 organ has an embarrassment of riches going on these days, with an emphasis on the word “embarrassment.” Because it can instantly add a hip pedigree, especially with an attendant Leslie speaker, the instrument often finds its way into undeserving groups. Not so with Robert Walter, who expertly bouys the done-to-death “soul jazz” style with an exciting jam-band sensibility. In the intimate room at the Mill Valley club owned and frequented by the Grateful Dead’s Bob Weir, anything can happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.9-400x266.jpg\" alt=\"Irvin Mayfield\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The forceful son of New Orleans, Irvin Mayfield.\u003c/figcaption>\u003c/figure>\n\u003ch3>Irvin Mayfield & New Orleans Jazz Orchestra\u003c/h3>\n\u003ch5>Nov. 16\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/irvin-mayfield-new-orleans-jazz-orchestra.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>In many ways, Louisiana trumpeter Irvin Mayfield is the anti-Wynton Marsalis: he’s tough around the edges, jagged on the surface and goes in for the kill when neccessary. At the heart of his playing—from his early days with Los Hombres Calientes to now—is New Orleans, and with that city’s namesake jazz orchestra, the technical virtuoso is given free reign to parade around the jubilant music of his hometown.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141020\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141020\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.10-400x266.jpg\" alt=\"Allen Toussaint\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Allen Toussaint’s songs are the fabric of a region.\u003c/figcaption>\u003c/figure>\n\u003ch3>Allen Toussaint with Preservation Hall Jazz Band\u003c/h3>\n\u003ch5>Nov. 18\u003cbr>\nWells Fargo Center for the Arts, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1463\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Nov. 22-23\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"https://sfjazz.org/events/2014-15/nov22/preservation-hall\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Like the Burt Bacharach of the South, Allen Toussaint’s stamp is on so much music in our world that at any given time, one of his songs, productions or recordings is likely being heard in all 50 states. The living legend teams up with the erstwhile Preservation Hall Jazz Band for numerous nights around the Bay Area of musical gumbo, roaring from Dixieland to 1970s funk and back in what should be part history lesson and part revelation.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "This fall brings some of jazz’s finest to the Bay Area, from tiny enclaves to large symphonic halls. With a wide variety of styles for nearly everybody, there’s no reason not to take in the constant adventure that is America’s native art form this season.",
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"title": "Abstract Testimonials: Fall Jazz Around the Bay | KQED",
"description": "This fall brings some of jazz’s finest to the Bay Area, from tiny enclaves to large symphonic halls. With a wide variety of styles for nearly everybody, there’s no reason not to take in the constant adventure that is America’s native art form this season.",
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"headline": "Abstract Testimonials: Fall Jazz Around the Bay",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>This fall brings some of jazz’s finest to the Bay Area, from tiny enclaves to large symphonic halls. With a wide variety of styles for nearly everybody, there’s no reason not to take in the constant adventure that is America’s native art form this season. Here are ten of the best upcoming jazz events for fall.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141011\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141011 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/jazz.1-400x266.jpg\" alt=\"Bodaboda\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/jazz.1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Mezzacappa, at left, and Bodaboda.\u003c/figcaption>\u003c/figure>\n\u003ch3>Bodaboda & Klaxon Mutant Allstars\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nDuende, Oakland\u003cbr>\n\u003ca href=\"http://www.duendeoakland.com/public-events/2014/9/11/lisa-mezzacappas-bodaboda\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Lisa Mezzacappa is a Bay Area treasure, and to this day, the prolific Berkeley bassist and composer remains creative to an almost frightening degree. Mezzacappa has chosen the conspicuous date of Sept. 11 for the Bay Area debut of Bodaboda, her newest and possibly wildest quartet; the group zigzags between Ornette Coleman’s structured \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, unbridled free jazz and an inebriated reinterpretation of circus music. Initially featuring bass clarinet and tuba, but now with guitar and electronics—and sharing a bill with the equally unpredictable Klaxon Mutant Allstars—Bodaboda should serve as a microcosm of all that makes Duende’s booking so unique.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141012\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141012 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.2-400x266.jpg\" alt=\"Ramsey Lewis\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ramsey Lewis, at home at the piano. Photo: Ravinia Festival. \u003ccite>(Photo: Ravinia Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Ramsey Lewis & Cecile McLorin Salvant\u003c/h3>\n\u003ch5>Sept. 20\u003cbr>\nGreen Music Center, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/2123188-ramsey-lewis-cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>From his 1960s pop-crossover hit “The In Crowd” to his surprisingly rich 1970s fusion experiments, the pianist Ramsey Lewis has retained a singular vision. Though his recent recorded output veers toward synthesisers and swampy funk, Lewis primarily plays acoustic piano in concert, combining his classical training and church upbringing in a trademark, soul-jazz style. (His version of gospel standard “Wade in the Water” is a highlight of his sets.) Here, in the acoustic marvel that is the Green Music Center’s main hall, Lewis shares a bill with Grammy-nominated jazz vocalist and pianist Cécile McLorin Salvant, who inhabits and repossesses each song she soulfully tackles from the Great American Songbook.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141013\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.3-400x266.jpg\" alt=\"The Cookers\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.3.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Cookers, an exciting coherence of jazz heavyweights.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Cookers\u003c/h3>\n\u003ch5>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/sep26/cookers\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Named for the classic 1965 Blue Note album \u003cem>Night of the Cookers\u003c/em>, this jazz supergroup captures all the invention and explosiveness of hard bop’s heyday. Pianist George Cables may be best known for his subdued ballads with Art Pepper, but he rises to the fire created by hornmen Billy Harper, Donald Harrison, David Weiss and Eddie Henderson. Anchored by a rhythm section of Billy Hart and Cecil McBee, the band never fails to electrify the stage.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141014\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141014\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.4-400x266.jpg\" alt=\"Chuchito Valdes\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.4.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chuchito Valdés brings Afro-Cuban fireworks to the keys.\u003c/figcaption>\u003c/figure>\n\u003ch3>Chuchito Valdés\u003c/h3>\n\u003ch5>Sept. 28\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4435\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Being the son of a jazz legend has its downside, but Ravi Coltrane, T.S. Monk and Darius Brubeck have all transcended their bloodline. Adding to that roster is Chuchito Valdés, who’s not only the son of Cuban piano great Chucho Valdés but the grandson of pianist and composer Bebo Valdés. Raised in Havana, Valdés’ style is firmly in the Cuban tradition, bringing rhythmic flair to afro-Cuban jazz, mambo and Cuban son. You know those “blooming flower” fireworks? Light one on a keyboard, and you’ll have a close approximation of what to expect on stage.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141015\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.5-400x266.jpg\" alt=\"Charles Lloyd\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.5.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lloyd pushes into Eastern territory with the Sangam Trio.\u003c/figcaption>\u003c/figure>\n\u003ch3>Charles Lloyd with Zakir Hussain & Eric Harland\u003c/h3>\n\u003ch5>Oct. 10-11\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/oct10/sangam\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Zakir Hussain has long reimagined the Indian tabla drum as a jazz instrument, and in recent years has joined a dream team to push its possibilities further. Saxophonist Charles Lloyd continues to amaze into his career’s fifth decade, and you’d be hard pressed to find a better working drummer in jazz than the intensely prodding Eric Harland, who also doubles on piano. Together, the three perform soaring, Eastern-influenced spiritual jazz—imagine if Coltrane had lived to sojurn to India—as the Sangam Trio, who pull miracles out of thin air every time they collaborate.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.6-400x266.jpg\" alt=\"Stanley Clarke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.6.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stanley Clarke on acoustic upright bass. Photo: Mike Kurgansky\u003c/figcaption>\u003c/figure>\n\u003ch3>Stanley Clarke Quartet\u003c/h3>\n\u003ch5>Oct. 10-12\u003cbr>\nYoshi’s, San Francisco\u003cbr>\n\u003ca href=\"http://www.yoshis.com/sanfrancisco/livemusic/artist/show/4469\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Jazz’s favorite ex-Scientologist continues his reign as the genre’s best living electric bassist, and those who decry the amplified instrument will note that he often pulls out the good ol’ wooden upright as well. Since his time with Return to Forever and the chart-topping success of \u003cem>School Days\u003c/em>, Clarke has settled into an explorative sphere that’s got both legs in jazz and only a passing glance at pop. Having Japanese-born virtuoso Hiromi on piano only adds to the riches in this group.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141017\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141017\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.7-400x266.jpg\" alt=\"Dave Douglas & Joe Lovano\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Dave Douglas and Joe Lovano continue to push boundaries. Photo: Alex Chaloff\u003c/figcaption>\u003c/figure>\n\u003ch3>Joe Lovano & Dave Douglas: Sound Prints\u003c/h3>\n\u003ch5>Oct. 17\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4488\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>On his own, saxophonist Joe Lovano can veer into rote balladry, and an unleashed Dave Douglas has a tendency for the avant-garde on trumpet. Put them together in a quintet, and the two men balance each other out perfectly. In the quintet known as Sound Prints, they benefit greatly from Joey Baron’s unmatched drum skills, choice piano courtesy of Lawrence Fields and the rooted bass of Linda Oh. Each set the group plays is like a tightrope act—daring, dramatic, and thrilling to watch.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141018\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.8-400x266.jpg\" alt=\"Robert Walter\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.8.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Robert Walter redefines the soul-jazz organ sound.\u003c/figcaption>\u003c/figure>\n\u003ch3>Robert Walter’s 20th Congress\u003c/h3>\n\u003ch5>Oct. 23\u003cbr>\nSweetwater Music Hall, Mill Valley\u003cbr>\n\u003ca href=\"http://www.sweetwatermusichall.com/event/649021-robert-walters-20th-congress-mill-valley/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Hammond B-3 organ has an embarrassment of riches going on these days, with an emphasis on the word “embarrassment.” Because it can instantly add a hip pedigree, especially with an attendant Leslie speaker, the instrument often finds its way into undeserving groups. Not so with Robert Walter, who expertly bouys the done-to-death “soul jazz” style with an exciting jam-band sensibility. In the intimate room at the Mill Valley club owned and frequented by the Grateful Dead’s Bob Weir, anything can happen.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141019\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.9-400x266.jpg\" alt=\"Irvin Mayfield\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.9.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The forceful son of New Orleans, Irvin Mayfield.\u003c/figcaption>\u003c/figure>\n\u003ch3>Irvin Mayfield & New Orleans Jazz Orchestra\u003c/h3>\n\u003ch5>Nov. 16\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/irvin-mayfield-new-orleans-jazz-orchestra.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>In many ways, Louisiana trumpeter Irvin Mayfield is the anti-Wynton Marsalis: he’s tough around the edges, jagged on the surface and goes in for the kill when neccessary. At the heart of his playing—from his early days with Los Hombres Calientes to now—is New Orleans, and with that city’s namesake jazz orchestra, the technical virtuoso is given free reign to parade around the jubilant music of his hometown.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141020\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141020\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Jazz.10-400x266.jpg\" alt=\"Allen Toussaint\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Jazz.10.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Allen Toussaint’s songs are the fabric of a region.\u003c/figcaption>\u003c/figure>\n\u003ch3>Allen Toussaint with Preservation Hall Jazz Band\u003c/h3>\n\u003ch5>Nov. 18\u003cbr>\nWells Fargo Center for the Arts, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1463\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003ch5>Nov. 22-23\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"https://sfjazz.org/events/2014-15/nov22/preservation-hall\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Like the Burt Bacharach of the South, Allen Toussaint’s stamp is on so much music in our world that at any given time, one of his songs, productions or recordings is likely being heard in all 50 states. The living legend teams up with the erstwhile Preservation Hall Jazz Band for numerous nights around the Bay Area of musical gumbo, roaring from Dixieland to 1970s funk and back in what should be part history lesson and part revelation.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stay in the East Bay for Art and Music this Fall",
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"headTitle": "Stay in the East Bay for Art and Music this Fall | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Sick of dealing with finding parking in the city? Lucky for you there are endless opportunities for entertainment in the East Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Get Halfway to Infinity at Heiroglyphics' Hip-Hop Block Party",
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"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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/hiero-day/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Hiero Day\u003c/h4>\n\u003cdiv class=\"event-desc\">Huge, free hip-hop block party in Oakland.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 1, 2014\u003c/h4>\n\u003cp>11am-6pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">95 Linden St., Oakland\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/hiero-day/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if you’re not a hip-hop fan, you’ve surely noticed the ubiquitous logo: three dots as eyes, above a straight line, in a circle. Such is the mark of Oakland’s longest-running hip-hop collective the Heiroglyphics, and this week, the members celebrate their continued collaboration with a huge block party called Heiro Day. Now in its third year, the free event brings together East Bay institutions like Zion-I, Mac Mall, Mystik Journeymen and the Grouch & Eligh with up-and-comers like Fashawn, Casey Veggies, Free the Robots and many, many others on three stages. Food trucks, producers, DJs, beer from the on-site Linden Street Brewery, clothing booths and a skate area round out the all-day, all-ages bash.\u003c/p>\n\u003cp>Live and on stage, the Heiroglyphics themselves come with one small but notable caveat. Though their most famous export Del tha Funkee Homosapien has appeared on smash hits (the Gorillaz’ “\u003ca href=\"https://www.youtube.com/watch?v=LoQYw49saqc\" target=\"_blank\" rel=\"noopener\">Clint Eastwood\u003c/a>“) and makes solid albums (\u003cem>No Need For Alarm\u003c/em>), he’s often underwhelming on stage, and those who come solely to see his set may be let down. Del is more than made up for, however, by the Souls of Mischief, who are one of the top ten live hip-hop acts in world. With skilled mic technique, unmatched energy, flawless segues and a natural chemistry that hasn’t waned in 21 years together, the Souls are the act to catch at Heiro Day. That’s especially true with this month’s release of the group’s stellar new album, \u003cem>There is Only Now\u003c/em>, produced by it-producer of the moment Adrian Younge—but of course, whenever the Souls drop the beat to their breakout hit “\u003ca href=\"https://www.youtube.com/watch?v=0VwfYCFYZws\" target=\"_blank\" rel=\"noopener\">’93 ’til Infinity\u003c/a>,” the past comes roaring back. Throughout the entire city on Labor Day weekend, nothing will represent Oakland hip-hop more than that one rapturous moment.\u003c/p>\n\u003cp>\u003cstrong>THE COST OF FREEDOM\u003c/strong>: Tickets to Heiro Day are technically available for no charge, but in order to “Keep Heiro Day Free,” organizers have installed a pay-what-you-will system for tickets on the event website. The free tickets are now gone, as are the dirt-cheap-priced options (starting at $1), but you can still get into the all-day event for a steal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A Way to Help Someone With ALS That Doesn't Involve Getting Soaked",
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"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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/jason-becker-not-dead-yet-festival-3/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Jason Becker Benefit\u003c/h4>\n\u003cdiv class=\"event-desc\">Virtuoso guitars for a good cause.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug 30, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/jason-becker-not-dead-yet-festival-3/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If your Facebook feed is clogged with people dumping ice water over their heads but you still don’t know exactly what ALS stands for, much less what the disease does, you’re not alone. More than one user on Twitter has taken a cursory glance at a Wikipedia page for the disease and glibly characterized the acronym as “A Long Story.”\u003c/p>\n\u003cp>But Amyotrophic lateral sclerosis, more commonly known as Lou Gherig’s disease, is no joke, taking a hugely degenerative toll on the body. In the Bay Area music community, virtuoso guitarist Jason Becker has been living with ALS since 1989. In 1997, he was given six months to live, but as the dry title of a recent documentary on the pioneering speed-metal musician says, he’s not dead yet.\u003c/p>\n\u003cp>Among all this ice-dumping of late, Becker got a huge celebrity endorsement from John Mayer, who not only dedicated his own viral soaking to Becker but opened his viral video by playing “Air,” a Becker composition, on guitar. This week, the third-annual ‘Jason Becker’s Not Dead Yet’ benefit raises funds for Becker’s medical costs, and features the above-pictured Richie Kotzen (Poison, Mr. Big), Michael Lee Firkins, SpiralArms and Ben Woods. The night offers a chance to see some incredible guitar playing and help out a Bay Area musician… but for the love of the club’s soundmen and janitors, don’t bring a bucket of ice water.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/jason-becker-not-dead-yet-festival-3/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Jason Becker Benefit\u003c/h4>\n\u003cdiv class=\"event-desc\">Virtuoso guitars for a good cause.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug 30, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/jason-becker-not-dead-yet-festival-3/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If your Facebook feed is clogged with people dumping ice water over their heads but you still don’t know exactly what ALS stands for, much less what the disease does, you’re not alone. More than one user on Twitter has taken a cursory glance at a Wikipedia page for the disease and glibly characterized the acronym as “A Long Story.”\u003c/p>\n\u003cp>But Amyotrophic lateral sclerosis, more commonly known as Lou Gherig’s disease, is no joke, taking a hugely degenerative toll on the body. In the Bay Area music community, virtuoso guitarist Jason Becker has been living with ALS since 1989. In 1997, he was given six months to live, but as the dry title of a recent documentary on the pioneering speed-metal musician says, he’s not dead yet.\u003c/p>\n\u003cp>Among all this ice-dumping of late, Becker got a huge celebrity endorsement from John Mayer, who not only dedicated his own viral soaking to Becker but opened his viral video by playing “Air,” a Becker composition, on guitar. This week, the third-annual ‘Jason Becker’s Not Dead Yet’ benefit raises funds for Becker’s medical costs, and features the above-pictured Richie Kotzen (Poison, Mr. Big), Michael Lee Firkins, SpiralArms and Ben Woods. The night offers a chance to see some incredible guitar playing and help out a Bay Area musician… but for the love of the club’s soundmen and janitors, don’t bring a bucket of ice water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The tempestuous sounds of Oakland rock quintet Whirr walk a bold line between menace and comfort. Like being wrapped in layers of heavy blanket, their music can be sweltering and claustrophobic or comfortably warm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\" alt=\"whirrpipedreams\" width=\"640\" height=\"640\" class=\"alignright size-full wp-image-10141090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>They pull this off by producing a big onslaught of sound. On their debut LP \u003ci>Pipe Dreams\u003c/i>, Whirr’s three heavily amplified guitarists play over each other, cloaking their melodies in thick distortion. Within the guitars’ aggressively brutal textures are quietly caressing vocals that seem contrastingly innocent and gentle. Tracks “Flashback” and “Formulas and Frequencies” move at a leisurely pace with sweet, sunbathed melodies. “Bogus” and “Home is where my head is” accelerate and explode.\u003c/p>\n\u003cp>The effect of this dual nature can be polarizing. The album could provide the background music for a relaxing drive on a cloudy day or be the soundtrack for an anxiety attack. It’s too raucous to be denoted as typical shoegaze and too lush and wistful to be punk. Live, Whirr’s volume is almost ear shattering, but even then its noisy envelopment is captivating. \u003c/p>\n\u003cp>Now, after months of touring and songwriting post \u003ci>Pipe Dreams\u003c/i> and 2013’s \u003ci>Around\u003c/i> EP, Whirr is set to release its second album \u003ci>Sway\u003c/i> on September 23, 2014. Luckily, fans can catch the band’s record release show at the Rickshaw Stop on August 30 and get a live preview. Tickets are $10 in advance or $12 at the door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whirr’s already shared two tracks online from the upcoming album. The singles, “Mumble” and “Heavy,” show that the band hasn’t changed its sound, but has grown more focused and streamlined in delivery.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/160114439″ 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>Unlike the somewhat jarring guitar textures of \u003ci>Pipe Dreams\u003c/i>, these two songs display a more coordinated interplay of guitar work with cleaner production. The blurriness that once shrouded the melodies has subsided, without sacrificing the lustrous reverb the band is known for. The lead guitar lines on “Mumble” stay clear and distinct, even when the song erupts in fuzz 2/3 of the way through. The appropriately titled “Heavy” begins with a dismal, sludgy crawl and then expands and builds with tuneful intensity. Both tracks have an ebb and flow of conflicting elements — of beauty and ugliness, aggression and restraint — that make them captivating.\u003c/p>\n\u003cp>I spoke to guitarist Nick Bassett briefly about Whirr’s origin, their general sound, and the new album. Judging from Bassett’s confidence, we should expect it to be a good one.\u003c/p>\n\u003cp>\u003cb>How did Whirr get together?\u003c/b>\u003c/p>\n\u003cp>We’ve all been friends since after high school. We were all into punk and skating and stuff like that and we just hung out, decided to start a band.\u003c/p>\n\u003cp>\u003cb>How would you characterize Whirr’s sound? What bands or artists do you draw inspiration from?\u003c/b>\u003c/p>\n\u003cp>I don’t know, there’s not any particular band, I think. I don’t know any — honestly there are so many different bands; it’s not just pigeonholed into My Bloody Valentine or something like that. There are all kinds; we all listen to different stuff. We all listen to [laughs] ZZ top, R&B, soul, all kinds of punk and hardcore.\u003c/p>\n\u003cfigure id=\"attachment_10140781\" class=\"wp-caption alignright\" style=\"max-width: 989px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\" alt=\"Whirr tour poster. Taken from artist's website.\" width=\"989\" height=\"1280\" class=\"size-full wp-image-10140781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-231x300.jpg 231w\" sizes=\"(max-width: 989px) 100vw, 989px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Whirr tour poster\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has Whirr’s sound changed over the years?\u003c/b>\u003c/p>\n\u003cp>I guess it’s changed but it’s not intentional, it just happened. We just keep writing songs and they keep going however they’re going to go. We didn’t set out to change our sound on our new record or anything like that\u003c/p>\n\u003cp>\u003cb>What was the writing process like for \u003ci>Sway\u003c/i>? Was it any different from \u003ci>Pipe Dreams\u003c/i>? If so, how?\u003c/b>\u003c/p>\n\u003cp>It was different since I was in Philadelphia. so I wasn’t around for all of it. We weren’t together really. But other than that we all just wrote songs, came together and recorded them. It wasn’t too different.\u003c/p>\n\u003cp>\u003cb>How do you feel about the completed product? Does it live up to your expectations?\u003c/b>\u003c/p>\n\u003cp>Yes, I think it’s perfect.\u003c/p>\n\u003cp>\u003cb>How does this record differ from your previous releases?\u003c/b>\u003c/p>\n\u003cp>Well, every record we do is better than the last one and this one is following that same stairway up to the top.\u003c/p>\n\u003cp>\u003cb>What is your favorite venue to play in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Probably The Ol’ Dopehouse. It’s in Oakland on 14th and Wood Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whirr’s record release party is on August 30, 2014 at The Rickshaw Stop in San Francisco. For \u003ca href=\"http://www.rickshawstop.com/event/622893-whirr-record-release-san-francisco/\"> more information \u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tempestuous sounds of Oakland rock quintet Whirr walk a bold line between menace and comfort. Like being wrapped in layers of heavy blanket, their music can be sweltering and claustrophobic or comfortably warm.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg\" alt=\"whirrpipedreams\" width=\"640\" height=\"640\" class=\"alignright size-full wp-image-10141090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whirrpipedreams-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>They pull this off by producing a big onslaught of sound. On their debut LP \u003ci>Pipe Dreams\u003c/i>, Whirr’s three heavily amplified guitarists play over each other, cloaking their melodies in thick distortion. Within the guitars’ aggressively brutal textures are quietly caressing vocals that seem contrastingly innocent and gentle. Tracks “Flashback” and “Formulas and Frequencies” move at a leisurely pace with sweet, sunbathed melodies. “Bogus” and “Home is where my head is” accelerate and explode.\u003c/p>\n\u003cp>The effect of this dual nature can be polarizing. The album could provide the background music for a relaxing drive on a cloudy day or be the soundtrack for an anxiety attack. It’s too raucous to be denoted as typical shoegaze and too lush and wistful to be punk. Live, Whirr’s volume is almost ear shattering, but even then its noisy envelopment is captivating. \u003c/p>\n\u003cp>Now, after months of touring and songwriting post \u003ci>Pipe Dreams\u003c/i> and 2013’s \u003ci>Around\u003c/i> EP, Whirr is set to release its second album \u003ci>Sway\u003c/i> on September 23, 2014. Luckily, fans can catch the band’s record release show at the Rickshaw Stop on August 30 and get a live preview. Tickets are $10 in advance or $12 at the door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whirr’s already shared two tracks online from the upcoming album. The singles, “Mumble” and “Heavy,” show that the band hasn’t changed its sound, but has grown more focused and streamlined in delivery.\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/160114439″&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/160114439″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Unlike the somewhat jarring guitar textures of \u003ci>Pipe Dreams\u003c/i>, these two songs display a more coordinated interplay of guitar work with cleaner production. The blurriness that once shrouded the melodies has subsided, without sacrificing the lustrous reverb the band is known for. The lead guitar lines on “Mumble” stay clear and distinct, even when the song erupts in fuzz 2/3 of the way through. The appropriately titled “Heavy” begins with a dismal, sludgy crawl and then expands and builds with tuneful intensity. Both tracks have an ebb and flow of conflicting elements — of beauty and ugliness, aggression and restraint — that make them captivating.\u003c/p>\n\u003cp>I spoke to guitarist Nick Bassett briefly about Whirr’s origin, their general sound, and the new album. Judging from Bassett’s confidence, we should expect it to be a good one.\u003c/p>\n\u003cp>\u003cb>How did Whirr get together?\u003c/b>\u003c/p>\n\u003cp>We’ve all been friends since after high school. We were all into punk and skating and stuff like that and we just hung out, decided to start a band.\u003c/p>\n\u003cp>\u003cb>How would you characterize Whirr’s sound? What bands or artists do you draw inspiration from?\u003c/b>\u003c/p>\n\u003cp>I don’t know, there’s not any particular band, I think. I don’t know any — honestly there are so many different bands; it’s not just pigeonholed into My Bloody Valentine or something like that. There are all kinds; we all listen to different stuff. We all listen to [laughs] ZZ top, R&B, soul, all kinds of punk and hardcore.\u003c/p>\n\u003cfigure id=\"attachment_10140781\" class=\"wp-caption alignright\" style=\"max-width: 989px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg\" alt=\"Whirr tour poster. Taken from artist's website.\" width=\"989\" height=\"1280\" class=\"size-full wp-image-10140781\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-400x517.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Whirr-Tour-dates-231x300.jpg 231w\" sizes=\"(max-width: 989px) 100vw, 989px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Whirr tour poster\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has Whirr’s sound changed over the years?\u003c/b>\u003c/p>\n\u003cp>I guess it’s changed but it’s not intentional, it just happened. We just keep writing songs and they keep going however they’re going to go. We didn’t set out to change our sound on our new record or anything like that\u003c/p>\n\u003cp>\u003cb>What was the writing process like for \u003ci>Sway\u003c/i>? Was it any different from \u003ci>Pipe Dreams\u003c/i>? If so, how?\u003c/b>\u003c/p>\n\u003cp>It was different since I was in Philadelphia. so I wasn’t around for all of it. We weren’t together really. But other than that we all just wrote songs, came together and recorded them. It wasn’t too different.\u003c/p>\n\u003cp>\u003cb>How do you feel about the completed product? Does it live up to your expectations?\u003c/b>\u003c/p>\n\u003cp>Yes, I think it’s perfect.\u003c/p>\n\u003cp>\u003cb>How does this record differ from your previous releases?\u003c/b>\u003c/p>\n\u003cp>Well, every record we do is better than the last one and this one is following that same stairway up to the top.\u003c/p>\n\u003cp>\u003cb>What is your favorite venue to play in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Probably The Ol’ Dopehouse. It’s in Oakland on 14th and Wood Street.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whirr’s record release party is on August 30, 2014 at The Rickshaw Stop in San Francisco. For \u003ca href=\"http://www.rickshawstop.com/event/622893-whirr-record-release-san-francisco/\"> more information \u003c/a> visit rickshawstop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Quetzal\u003c/h4>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 30, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Blackbird Tavern, San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 31, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Gardens, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>How many musicians could weave a touching story of romance from the everyday sight of an injured, dirty pigeon? In the case of Southern California band \u003ca href=\"http://www.quetzalband.com/\" target=\"_blank\" rel=\"noopener\">Quetzal\u003c/a>, such corollaries come naturally. Singer Martha Gonzalez and guitarist Quetzal Flores spotted such a bird at Los Angeles’ Union Station one day, and went home to write “Palomo Vagabundo,” a slow lament for the ways urban environments grind away at our innate openness to love one another.\u003c/p>\n\u003cp>After 20 years of distilling and combining many styles from throughout Latin music’s history, Quetzal is a “Chicano rock band” in umbrella terms only. More folk-based than Los Lobos, less hip-hop than Ozomatli, the six-piece band best fits into the \u003cem>son jarocho\u003c/em> tradition. Key to that tradition are all-night fandangos and a key place in social justice issues. As Gonzalez, a professor at Scripps College in Pomona, told journalist Oliver Wang earlier this year: “There’s a historical and political trajectory in rhythm, and that’s how it was meant to be.”\u003c/p>\n\u003cp>When Quetzal play in San Jose this week in support of their new release \u003cem>Quetzanimales\u003c/em>, they do so in the afterglow of a 2013 Grammy win, and just one week after San Jose’s own norteño heroes Los Tigres del Norte earned a star on Hollywood’s Walk of Fame. The next afternoon, they play a free outdoor show in San Francisco. Expect a lively party with a social message—and plenty of dancing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Quetzal\u003c/h4>\n\u003cdiv class=\"event-desc\">Two shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 30, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Blackbird Tavern, San Jose\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 31, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Yerba Buena Gardens, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>How many musicians could weave a touching story of romance from the everyday sight of an injured, dirty pigeon? In the case of Southern California band \u003ca href=\"http://www.quetzalband.com/\" target=\"_blank\" rel=\"noopener\">Quetzal\u003c/a>, such corollaries come naturally. Singer Martha Gonzalez and guitarist Quetzal Flores spotted such a bird at Los Angeles’ Union Station one day, and went home to write “Palomo Vagabundo,” a slow lament for the ways urban environments grind away at our innate openness to love one another.\u003c/p>\n\u003cp>After 20 years of distilling and combining many styles from throughout Latin music’s history, Quetzal is a “Chicano rock band” in umbrella terms only. More folk-based than Los Lobos, less hip-hop than Ozomatli, the six-piece band best fits into the \u003cem>son jarocho\u003c/em> tradition. Key to that tradition are all-night fandangos and a key place in social justice issues. As Gonzalez, a professor at Scripps College in Pomona, told journalist Oliver Wang earlier this year: “There’s a historical and political trajectory in rhythm, and that’s how it was meant to be.”\u003c/p>\n\u003cp>When Quetzal play in San Jose this week in support of their new release \u003cem>Quetzanimales\u003c/em>, they do so in the afterglow of a 2013 Grammy win, and just one week after San Jose’s own norteño heroes Los Tigres del Norte earned a star on Hollywood’s Walk of Fame. The next afternoon, they play a free outdoor show in San Francisco. Expect a lively party with a social message—and plenty of dancing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"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.",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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