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"title": "5 Things Not To Miss at 'Creative Convergence Silicon Valley'",
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"content": "\u003cp>San Jose is working to shed its image as the \u003cem>other\u003c/em> city where the John and Jane Does of the tech industry live. It’s redefining itself as a community of collaboration where musicians, small business owners and artists celebrate creativity and cultural diversity. The expansion of local tech companies and small businesses into the downtown area isn’t as contentious as it is in San Francisco. As a result, events like \u003cstrong>Creative Convergence Silicon Valley\u003c/strong> (C2SV) and the \u003cstrong>SoFA Street Fair\u003c/strong> have emerged in the last couple of years in an effort to bring all kinds of people together.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10142049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300.jpg\" alt=\"C2SV_logo-copy-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">C2SV\u003c/strong> is a four-day technology conference and music festival consisting of several micro-events, including tech talks, music showcases and the SoFA Street Fair that take place in the heart of Downtown San Jose. It’s been going on for three years, two as a music festival and one as a music and technology event. C2SV is about keeping Silicon Valley innovative, livable and inclusive. Community engagement is an important component of the event. Creative Convergence contributes to 28 An Jose nonprofits, including Children’s Discovery Museum, LGBTQ Youth Space and Ballet San Jose. \u003c/p>\n\u003cp>This weekend will no doubt capture the unique experience of San Jose and how it differs from Silicon Valley’s other cities. The event will conclude with the \u003cb>SoFA Street Fair\u003c/b> on Sunday. Over 50 artists will perform on three outdoor stages and in multiple indoor venues. This weekend has a lot to offer plus, it’s all free. Here are five things not to miss:\u003c/p>\n\u003cp>\u003cstrong>1. Talks on some of Silicon Valley’s most pressing social issues\u003c/strong>\u003cbr>\nThe conference kicks off this Thursday (Sept. 11) with a discussion led by Yasha Levine, a tech journalist who coined the term \u003cem>Surveillance Valley\u003c/em>. Levine will talk about \u003ca href=\"http://www.metroactive.com/features/Surveillance-Valley-Yasha-Levine-internet-privacy.html\">surveillance and the risks of mass data collection\u003c/a> (something was writing about well before Jennifer Lawrence and Kate Upton’s nude pics started floating around the Internet). Maybe this will be the push you were looking for to finally start encrypting your data.\u003c/p>\n\u003cp>On Friday, Entrepreneur \u003ca href=\"http://wadhwa.com/\">Vivek Wadhwa\u003c/a> will give a talk entitled \u003ci>Innovating Women: The Changing Face of Technology\u003c/i> with Elisa Camahort Page of \u003ca href=\"http://www.blogher.com/\">BlogHer\u003c/a>. It would be nice for a talk of this nature to address the issue of \u003cem>underrepresented minorities\u003c/em> like women, African Americans and Hispanics in tech. It would also be nice for a female speaker to lead the event and share the stage with a male speaker, not the other way around. The talk is still worth attending and hopefully these issues will be addressed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. Adam Rogers on alcohol\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.wired.com/author/adam-rogers/\">Rogers\u003c/a> is an articles editor at \u003ci>Wired Magazine\u003c/i>. He just came out with a book titled \u003cem>Proof: The Science of Booze\u003c/em>. He’ll open the conference on Thursday, with a talk on the civilizing effects of alcohol. Myths of how alcohol works are so common, it will be nice to sort fact from fiction with this Rogers.\u003c/p>\n\u003cp>\u003cstrong>3. Breathing Patterns at the local music showcase \u003c/strong>\u003cbr>\nCommunity is an important aspect of\u003cstrong> C2SV\u003c/strong>. The local music showcases provide an environment for Bay Area bands to shine and catch the interest of the musically curious who are looking to bolster their support of local artists. San Jose band \u003ca href=\"https://www.facebook.com/breathingxpatterns\">Breathing Patterns\u003c/a> is slightly more chilled-out than the other rock bands performing in Saturday and Sunday’s showcase. Most of their songs, like “Here’s to you Dr.Seuss,” are slow and dreamy with vocals that blend into the background music. In other tracks, like “Synthetic Hope” off their EP \u003cem>Tin\u003c/em>, the guitar and drums are the main focus as they build to an upbeat climax just before the end of the song. Breathing Patterns will play on Sunday (Sept. 14).\u003c/p>\n\u003cp>Listen to Breathing Patterns’ EP \u003cem>Tin\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 150px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1839651150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>4. Ruckatan at the Latin Music Showcase\u003c/strong>\u003cbr>\nHere’s something for world music and fusion lovers who are looking to do a little more than some light swaying and head-bopping. \u003ca href=\"http://www.reverbnation.com/ruckatan\">Ruckatan\u003c/a> is a Latin Rock group from Alameda. You can experience Ruckatan’s dance-oriented blend of Latin, reggae and rock music at Chacho’s on Saturday night (Sept. 13). Just try to keep your shoulders still during “Sin Ti”:\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=JuEqZR7sUns\u003c/p>\n\u003cp>\u003cstrong>5. Fishbone at the SoFA Street Fair\u003c/strong>\u003cbr>\n\u003ca href=\"http://fishbone.net/\">Fishbone\u003c/a> is headlining Sunday’s SoFA Street Fair. They’re from LA and have been around on the alternative scene for a few decades. These guys blur the musical and cultural lines between punk rock, ska, and funk. Plus, they’re great performers. Here’s Fishbone performing a couple of weeks ago at AFROPUNK in Brooklyn, NY:\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=JXu-uTshb9c\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Creative Convergence Silicon Valley\u003c/strong> runs Sept. 11-14, 2014 at various venues in downtown San Jose. For \u003ca href=\"http://c2sv.com/\">more information\u003c/a>, visit c2sv.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose is working to shed its image as the \u003cem>other\u003c/em> city where the John and Jane Does of the tech industry live. It’s redefining itself as a community of collaboration where musicians, small business owners and artists celebrate creativity and cultural diversity. The expansion of local tech companies and small businesses into the downtown area isn’t as contentious as it is in San Francisco. As a result, events like \u003cstrong>Creative Convergence Silicon Valley\u003c/strong> (C2SV) and the \u003cstrong>SoFA Street Fair\u003c/strong> have emerged in the last couple of years in an effort to bring all kinds of people together.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10142049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300.jpg\" alt=\"C2SV_logo-copy-300x300\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/C2SV_logo-copy-300x300-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">C2SV\u003c/strong> is a four-day technology conference and music festival consisting of several micro-events, including tech talks, music showcases and the SoFA Street Fair that take place in the heart of Downtown San Jose. It’s been going on for three years, two as a music festival and one as a music and technology event. C2SV is about keeping Silicon Valley innovative, livable and inclusive. Community engagement is an important component of the event. Creative Convergence contributes to 28 An Jose nonprofits, including Children’s Discovery Museum, LGBTQ Youth Space and Ballet San Jose. \u003c/p>\n\u003cp>This weekend will no doubt capture the unique experience of San Jose and how it differs from Silicon Valley’s other cities. The event will conclude with the \u003cb>SoFA Street Fair\u003c/b> on Sunday. Over 50 artists will perform on three outdoor stages and in multiple indoor venues. This weekend has a lot to offer plus, it’s all free. Here are five things not to miss:\u003c/p>\n\u003cp>\u003cstrong>1. Talks on some of Silicon Valley’s most pressing social issues\u003c/strong>\u003cbr>\nThe conference kicks off this Thursday (Sept. 11) with a discussion led by Yasha Levine, a tech journalist who coined the term \u003cem>Surveillance Valley\u003c/em>. Levine will talk about \u003ca href=\"http://www.metroactive.com/features/Surveillance-Valley-Yasha-Levine-internet-privacy.html\">surveillance and the risks of mass data collection\u003c/a> (something was writing about well before Jennifer Lawrence and Kate Upton’s nude pics started floating around the Internet). Maybe this will be the push you were looking for to finally start encrypting your data.\u003c/p>\n\u003cp>On Friday, Entrepreneur \u003ca href=\"http://wadhwa.com/\">Vivek Wadhwa\u003c/a> will give a talk entitled \u003ci>Innovating Women: The Changing Face of Technology\u003c/i> with Elisa Camahort Page of \u003ca href=\"http://www.blogher.com/\">BlogHer\u003c/a>. It would be nice for a talk of this nature to address the issue of \u003cem>underrepresented minorities\u003c/em> like women, African Americans and Hispanics in tech. It would also be nice for a female speaker to lead the event and share the stage with a male speaker, not the other way around. The talk is still worth attending and hopefully these issues will be addressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. Adam Rogers on alcohol\u003c/strong>\u003cbr>\n\u003ca href=\"http://www.wired.com/author/adam-rogers/\">Rogers\u003c/a> is an articles editor at \u003ci>Wired Magazine\u003c/i>. He just came out with a book titled \u003cem>Proof: The Science of Booze\u003c/em>. He’ll open the conference on Thursday, with a talk on the civilizing effects of alcohol. Myths of how alcohol works are so common, it will be nice to sort fact from fiction with this Rogers.\u003c/p>\n\u003cp>\u003cstrong>3. Breathing Patterns at the local music showcase \u003c/strong>\u003cbr>\nCommunity is an important aspect of\u003cstrong> C2SV\u003c/strong>. The local music showcases provide an environment for Bay Area bands to shine and catch the interest of the musically curious who are looking to bolster their support of local artists. San Jose band \u003ca href=\"https://www.facebook.com/breathingxpatterns\">Breathing Patterns\u003c/a> is slightly more chilled-out than the other rock bands performing in Saturday and Sunday’s showcase. Most of their songs, like “Here’s to you Dr.Seuss,” are slow and dreamy with vocals that blend into the background music. In other tracks, like “Synthetic Hope” off their EP \u003cem>Tin\u003c/em>, the guitar and drums are the main focus as they build to an upbeat climax just before the end of the song. Breathing Patterns will play on Sunday (Sept. 14).\u003c/p>\n\u003cp>Listen to Breathing Patterns’ EP \u003cem>Tin\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 150px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1839651150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>4. Ruckatan at the Latin Music Showcase\u003c/strong>\u003cbr>\nHere’s something for world music and fusion lovers who are looking to do a little more than some light swaying and head-bopping. \u003ca href=\"http://www.reverbnation.com/ruckatan\">Ruckatan\u003c/a> is a Latin Rock group from Alameda. You can experience Ruckatan’s dance-oriented blend of Latin, reggae and rock music at Chacho’s on Saturday night (Sept. 13). Just try to keep your shoulders still during “Sin Ti”:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JuEqZR7sUns'\n title='//www.youtube.com/embed/JuEqZR7sUns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>5. Fishbone at the SoFA Street Fair\u003c/strong>\u003cbr>\n\u003ca href=\"http://fishbone.net/\">Fishbone\u003c/a> is headlining Sunday’s SoFA Street Fair. They’re from LA and have been around on the alternative scene for a few decades. These guys blur the musical and cultural lines between punk rock, ska, and funk. Plus, they’re great performers. Here’s Fishbone performing a couple of weeks ago at AFROPUNK in Brooklyn, NY:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JXu-uTshb9c'\n title='//www.youtube.com/embed/JXu-uTshb9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Creative Convergence Silicon Valley\u003c/strong> runs Sept. 11-14, 2014 at various venues in downtown San Jose. For \u003ca href=\"http://c2sv.com/\">more information\u003c/a>, visit c2sv.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/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/bodaboda/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Bodaboda\u003c/h4>\n\u003cdiv class=\"event-desc\">Lisa Mezzacappa’s newest and possibly wildest combo.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 11, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Duende\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/bodaboda/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.lisamezzacappa.com/index.html\" target=\"_blank\" rel=\"noopener\">Lisa Mezzacappa\u003c/a> 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 a sort of 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 \u003ca href=\"http://klaxonmutantallstars.com/\" target=\"_blank\" rel=\"noopener\">Klaxon Mutant Allstars\u003c/a>—Bodaboda serves as a microcosm of all that makes Duende’s booking so unique.\u003c/p>\n\u003cp>[vimeo 81793393 w=500 h=281]\u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/81793393\">BODABODA: Saturnian March\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Help Combat Ebola with Sierra Leone's Refugee All Stars -- and Dance the Night Away",
"headTitle": "Help Combat Ebola with Sierra Leone’s Refugee All Stars — and Dance the Night Away | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Sierra Leone’s Refugee Allstars\u003c/h4>\n\u003cdiv class=\"event-desc\">Three shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Winery, Napa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 9, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Moe’s Alley, Santa Cruz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 10, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars-3/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Sierra Leone’s Refugee All Stars are bringing the spirit of West Africa to the Bay Area next week. The group is on tour promoting their fourth album \u003ci>Libation\u003c/i> and raising money and awareness to help the people of Sierra Leone combat the Ebola virus. The All Stars will play alongside \u003ca href=\"https://www.facebook.com/BlackNatureBand\">Black Nature Band\u003c/a>, a side project of All Stars band member Black Nature. Together they will offer positive vibes and harmonious musical stylings that appeal to the inner dancer and humanitarian in all of us.\u003c/p>\n\u003cp>Nearly a decade ago, San Francisco based filmmakers, \u003ca href=\"http://www.imdb.com/name/nm2090682/?ref_=tt_ov_dr\">Zach Niles\u003c/a> and \u003ca href=\"http://www.imdb.com/name/nm2122359/\">Banker White\u003c/a>, encountered Sierra Leone’s Refugee All Stars in Sembakounya Camp in Guinea. The Freetown natives had formed their band in a previous refugee camp during \u003ca href=\"http://www.bbc.com/news/world-africa-14094419\">Sierra Leone’s decade-long civil war\u003c/a>. Niles and White were so inspired by the band that they decided to travel with them for three years filming how they spread joy to fellow refugees in camps around West Africa.\u003c/p>\n\u003cp>When the war ended in 2002, the band moved back to Freetown and connected with other refugee musicians who became part of the band’s rotating group of members. Niles and White released their documentary, \u003ca href=\"http://www.imdb.com/title/tt0495750/\">\u003ci>Sierra Leone’s Refugee All Stars\u003c/i>\u003c/a> in 2005. The film resulted in an album, \u003ci>Living Like a Refugee,\u003c/i> and a subsequent U.S. tour that established the band on the global music scene.\u003c/p>\n\u003cfigure id=\"attachment_10141822\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141822 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg\" alt=\"Libation Album Cover\" width=\"700\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b-400x365.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b-300x274.jpg 300w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Libation Album Cover\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sierraleonesrefugeeallstars.bandcamp.com/album/libation\" target=\"_blank\" rel=\"noopener\">\u003ci>Libation\u003c/i>\u003c/a> pays respect to their beloved country and the band’s four “fallen soldiers,” who passed away from illness and various other maladies. A libation is an offering to a god or spirit to honor the ancestors and the memory of loved ones who have died. The album is a celebration of ten years together, a chance to remember those who have joined the ancestors and a hope for success in the future.\u003c/p>\n\u003cp>It’s quite remarkable how the All Stars use music to remain optimistic in the face of grave tragedies like war and now, Ebola. Misfortune is a regular occurrence for so many Sierra Leoneans and West Africans. Bandleader Reuben Korma says, “So we are troubled, but we are used to it. We can overcome our sadness and bring happiness to the people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the band progresses on their United States tour, the Ebola virus is spreading back home in West Africa. Koroma calls the virus “a monster disease.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.who.int/csr/disease/ebola/en/\">World Health Organization\u003c/a>, 1,026 of the 3,052 reported cases of Ebola are in Sierra Leone and the survival rate is 45%. Even though the group is on the road, the epidemic is always fresh in their minds as their wives and children relay stories of human suffering reminiscent of the civil war days.\u003c/p>\n\u003cfigure id=\"attachment_10141826\" class=\"wp-caption alignright\" style=\"max-width: 3072px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sierra11.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141826 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sierra11.jpg\" alt=\"\" width=\"3072\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11.jpg 3072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-1440x960.jpg 1440w\" sizes=\"(max-width: 3072px) 100vw, 3072px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sierra Leone’s Refugee All Stars; Photo by Jay Dickman\u003c/figcaption>\u003c/figure>\n\u003cp>The All Stars have launched a fund and awareness campaign about the deadly spread of Ebola in Sierra Leone and neighboring West African countries Liberia, Guinea and Nigeria. They have also teamed up with Banker White’s media outlet \u003ca href=\"http://weowntv.org/\">We Own TV\u003c/a>, raising money at their shows to help the organization’s young filmmakers continue to produce and disseminate public service announcements on effective methods of preventing Ebola in Sierra Leone.\u003c/p>\n\u003cp>“We just cleaned up the ashes of the war and then comes Ebola you know, as a stumbling block,” Koroma says. “It is trying to kill more people.”\u003c/p>\n\u003cp>Koroma plans to share his poem about the virus and Black Nature Band will perform their song, “Ebola,” at the show. Concert attendees can donate to We Own TV at each venue. \u003ca href=\"http://www.reverbnation.com/blacknatureband/song/21470916-ebola\">Listen to Black Nature’s Ebola song.\u003c/a>\u003c/p>\n\u003cp>The All Star’s songs sample a host of sounds from West Africa and beyond. According to Korma, “[Our music] does not orient from Sierra Leone but [for] many years people have been listening to those types of rhythms.”\u003c/p>\n\u003cp>http://youtu.be/W60EiaDP1EU\u003c/p>\n\u003cp>Many of the group’s songs are characterized by a West African style called\u003cem> palm wine\u003c/em>, also known as \u003cem>Maringa\u003c/em> in Sierra Leone. Palm wine played an influential role in forming the roots of highlife music. The tracks on \u003ci>Libation\u003c/i> take a more acoustic approach using mostly vintage guitars, hand percussion and harmonious vocals. The sound is very old school, like the music of \u003cem>highlife/palm wine\u003c/em> artist Koo Nimo of Ghana.\u003c/p>\n\u003cp>http://youtu.be/xXhmiQt4oy4\u003c/p>\n\u003cp>This more acoustic style is a return to the All Stars’ days in refugee camps where they played the songs of their youth using whatever instruments they could find or make by hand. Aside from highlife, connections to reggae music and Rastafarianism run deep in West Africa. Korma and a few of the other members consider themselves to be “Rasta men,” so their albums usually include a couple of reggae tracks, as well.\u003c/p>\n\u003cp>The All Stars are excited to close their tour in the Bay Area, a place they consider their second home. Korma says they have more friends here than anywhere else in the country. It all makes sense, since San Francisco was where documentary filmmakers Niles and White lived. For these last few shows, the band hopes to get everyone dancing and donating — with or without the influence of libations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sierra Leone’s Refugee All Stars and Black Nature Band perform Monday, Sept. 8, 8pm at City Winery in Napa, Tuesday, Sept. 9, 8:30pm at Moe’s Alley in Santa Cruz, and Wednesday, Sept. 10, 8pm at The Independent in San Francisco.\u003c/p>\n\n",
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"excerpt": "Sierra Leone’s Refugee All Stars bring the spirit of West Africa to the Bay Area this week with shows in Napa, Santa Cruz and San Francisco. The group is promoting its latest album 'Libation' and raising money to combat the spread of the Ebola virus back home. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/quetzal/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>Sierra Leone’s Refugee Allstars\u003c/h4>\n\u003cdiv class=\"event-desc\">Three shows in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">City Winery, Napa\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 9, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Moe’s Alley, Santa Cruz\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 10, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/sierra-leones-refugee-allstars-3/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Sierra Leone’s Refugee All Stars are bringing the spirit of West Africa to the Bay Area next week. The group is on tour promoting their fourth album \u003ci>Libation\u003c/i> and raising money and awareness to help the people of Sierra Leone combat the Ebola virus. The All Stars will play alongside \u003ca href=\"https://www.facebook.com/BlackNatureBand\">Black Nature Band\u003c/a>, a side project of All Stars band member Black Nature. Together they will offer positive vibes and harmonious musical stylings that appeal to the inner dancer and humanitarian in all of us.\u003c/p>\n\u003cp>Nearly a decade ago, San Francisco based filmmakers, \u003ca href=\"http://www.imdb.com/name/nm2090682/?ref_=tt_ov_dr\">Zach Niles\u003c/a> and \u003ca href=\"http://www.imdb.com/name/nm2122359/\">Banker White\u003c/a>, encountered Sierra Leone’s Refugee All Stars in Sembakounya Camp in Guinea. The Freetown natives had formed their band in a previous refugee camp during \u003ca href=\"http://www.bbc.com/news/world-africa-14094419\">Sierra Leone’s decade-long civil war\u003c/a>. Niles and White were so inspired by the band that they decided to travel with them for three years filming how they spread joy to fellow refugees in camps around West Africa.\u003c/p>\n\u003cp>When the war ended in 2002, the band moved back to Freetown and connected with other refugee musicians who became part of the band’s rotating group of members. Niles and White released their documentary, \u003ca href=\"http://www.imdb.com/title/tt0495750/\">\u003ci>Sierra Leone’s Refugee All Stars\u003c/i>\u003c/a> in 2005. The film resulted in an album, \u003ci>Living Like a Refugee,\u003c/i> and a subsequent U.S. tour that established the band on the global music scene.\u003c/p>\n\u003cfigure id=\"attachment_10141822\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141822 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg\" alt=\"Libation Album Cover\" width=\"700\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b-400x365.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/cmb-cd-30_softpak_37208a1b-300x274.jpg 300w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Libation Album Cover\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://sierraleonesrefugeeallstars.bandcamp.com/album/libation\" target=\"_blank\" rel=\"noopener\">\u003ci>Libation\u003c/i>\u003c/a> pays respect to their beloved country and the band’s four “fallen soldiers,” who passed away from illness and various other maladies. A libation is an offering to a god or spirit to honor the ancestors and the memory of loved ones who have died. The album is a celebration of ten years together, a chance to remember those who have joined the ancestors and a hope for success in the future.\u003c/p>\n\u003cp>It’s quite remarkable how the All Stars use music to remain optimistic in the face of grave tragedies like war and now, Ebola. Misfortune is a regular occurrence for so many Sierra Leoneans and West Africans. Bandleader Reuben Korma says, “So we are troubled, but we are used to it. We can overcome our sadness and bring happiness to the people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the band progresses on their United States tour, the Ebola virus is spreading back home in West Africa. Koroma calls the virus “a monster disease.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.who.int/csr/disease/ebola/en/\">World Health Organization\u003c/a>, 1,026 of the 3,052 reported cases of Ebola are in Sierra Leone and the survival rate is 45%. Even though the group is on the road, the epidemic is always fresh in their minds as their wives and children relay stories of human suffering reminiscent of the civil war days.\u003c/p>\n\u003cfigure id=\"attachment_10141826\" class=\"wp-caption alignright\" style=\"max-width: 3072px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sierra11.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141826 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/sierra11.jpg\" alt=\"\" width=\"3072\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11.jpg 3072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/sierra11-1440x960.jpg 1440w\" sizes=\"(max-width: 3072px) 100vw, 3072px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sierra Leone’s Refugee All Stars; Photo by Jay Dickman\u003c/figcaption>\u003c/figure>\n\u003cp>The All Stars have launched a fund and awareness campaign about the deadly spread of Ebola in Sierra Leone and neighboring West African countries Liberia, Guinea and Nigeria. They have also teamed up with Banker White’s media outlet \u003ca href=\"http://weowntv.org/\">We Own TV\u003c/a>, raising money at their shows to help the organization’s young filmmakers continue to produce and disseminate public service announcements on effective methods of preventing Ebola in Sierra Leone.\u003c/p>\n\u003cp>“We just cleaned up the ashes of the war and then comes Ebola you know, as a stumbling block,” Koroma says. “It is trying to kill more people.”\u003c/p>\n\u003cp>Koroma plans to share his poem about the virus and Black Nature Band will perform their song, “Ebola,” at the show. Concert attendees can donate to We Own TV at each venue. \u003ca href=\"http://www.reverbnation.com/blacknatureband/song/21470916-ebola\">Listen to Black Nature’s Ebola song.\u003c/a>\u003c/p>\n\u003cp>The All Star’s songs sample a host of sounds from West Africa and beyond. According to Korma, “[Our music] does not orient from Sierra Leone but [for] many years people have been listening to those types of rhythms.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W60EiaDP1EU'\n title='//www.youtube.com/embed/W60EiaDP1EU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of the group’s songs are characterized by a West African style called\u003cem> palm wine\u003c/em>, also known as \u003cem>Maringa\u003c/em> in Sierra Leone. Palm wine played an influential role in forming the roots of highlife music. The tracks on \u003ci>Libation\u003c/i> take a more acoustic approach using mostly vintage guitars, hand percussion and harmonious vocals. The sound is very old school, like the music of \u003cem>highlife/palm wine\u003c/em> artist Koo Nimo of Ghana.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xXhmiQt4oy4'\n title='//www.youtube.com/embed/xXhmiQt4oy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This more acoustic style is a return to the All Stars’ days in refugee camps where they played the songs of their youth using whatever instruments they could find or make by hand. Aside from highlife, connections to reggae music and Rastafarianism run deep in West Africa. Korma and a few of the other members consider themselves to be “Rasta men,” so their albums usually include a couple of reggae tracks, as well.\u003c/p>\n\u003cp>The All Stars are excited to close their tour in the Bay Area, a place they consider their second home. Korma says they have more friends here than anywhere else in the country. It all makes sense, since San Francisco was where documentary filmmakers Niles and White lived. For these last few shows, the band hopes to get everyone dancing and donating — with or without the influence of libations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sierra Leone’s Refugee All Stars and Black Nature Band perform Monday, Sept. 8, 8pm at City Winery in Napa, Tuesday, Sept. 9, 8:30pm at Moe’s Alley in Santa Cruz, and Wednesday, Sept. 10, 8pm at The Independent in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyond-the-bay-7-virtual-concerts-you-should-see-this-fall",
"title": "Beyond the Bay: 7 Virtual Concerts You Should See This Fall",
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"headTitle": "Beyond the Bay: 7 Virtual Concerts You Should See This Fall | KQED",
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"content": "\u003cfigure id=\"attachment_10141930\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-400x600.jpg\" alt=\"Chrissie Hynde; Photo by Harmony Gerber via Wikimedia Commons\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131.jpg 533w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chrissie Hynde; Photo by Harmony Gerber via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003cp>It’s always so tempting when your favorite musician is performing halfway around the world, in a city you’d \u003cem>love\u003c/em> to visit, at a venue you \u003cem>know\u003c/em> would be perfect. I’ve met fans of British singer \u003ca href=\"https://en.wikipedia.org/wiki/Beth_Orton\" target=\"_blank\" rel=\"noopener\">Beth Orton\u003c/a> who flew from New York to London just to hear her perform one night at a small club called \u003ca href=\"https://en.wikipedia.org/wiki/The_Spitz\" target=\"_blank\" rel=\"noopener\">The Spitz\u003c/a>. Orton’s performance was awe-inspiring, but was it worth paying $2,000 for everything from air fare to a hotel room to the actual ticket? And what about the time it took to get to London and back?\u003c/p>\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>OK, it \u003cem>was\u003c/em> worth it. But if you don’t have the time or the money this fall, you can always go for Plan B: Watching your ideal concert online, for just a few dollars or (here’s even better news) FREE. Yes, there are scores of great concerts this fall outside the Bay Area that, virtually, you can attend live. Here are seven concerts – a mix of rock, folk, country, and classical – that I’m planning to check out. The only catch: 8pm in London means 11am in San Francisco. So while the people at the actual concert might be partying at night like it’s 2099, it’ll be daytime for you. Slightly surreal, yes. But that’s a small price to pay for a concert that, one song at a time, transports you far beyond the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141923\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/blondie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/blondie-400x256.jpg\" alt=\"Blondie; Photo by Danielle-St.-Laurent\" width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10141923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie-300x192.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blondie; Photo by Danielle-St.-Laurent\u003c/figcaption>\u003c/figure>\n\u003ch3>Chrissie Hynde and Blondie from London\u003c/h3>\n\u003ch5>Tuesday, September 16, 11:30am\u003cbr>\n\u003ca href=\"http://www.itunesfestival.com\">itunesfestival.com\u003c/a>\u003c/h5>\n\u003cp>American rock music hit a high point in the late 1970s and early ‘80s with the ascension of \u003ca href=\"https://en.wikipedia.org/wiki/Chrissie_Hynde\" target=\"_blank\" rel=\"noopener\">Chrissie Hynde\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Blondie_%28band%29\" target=\"_blank\" rel=\"noopener\">Blondie\u003c/a>. “Kid” and “Brass in Pocket” (Hynde with \u003ca href=\"https://en.wikipedia.org/wiki/The_Pretenders\" target=\"_blank\" rel=\"noopener\">The Pretenders\u003c/a>), and “Call Me” and “Heart of Glass” (Blondie), combined elements of hard rock with experimental music and pop riffs. It was all so satisfying. Still is. So a concert with both Hynde and Blondie – led by the inimitable \u003ca href=\"https://en.wikipedia.org/wiki/Debbie_Harry\" target=\"_blank\" rel=\"noopener\">Debbie Harry\u003c/a> – is cause for celebration. The double bill (Hynde at 11:30am, Blondie at 1pm) is part of the \u003ca href=\"http://www.itunesfestival.com/\" target=\"_blank\" rel=\"noopener\">iTunes festival\u003c/a> at London’s \u003ca href=\"http://www.roundhouse.org.uk/about-us/\" target=\"_blank\" rel=\"noopener\">Roundhouse\u003c/a>, an ideal place for concerts. The iTunes concerts, which began on September 1 and continue through September 30, are free to watch, though they have to be seen on iTunes or an Apple TV.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141516\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-400x651.jpg\" alt=\"Tim McGraw; Photo source: Wikimedia Commons\" width=\"400\" height=\"651\" class=\"size-thumbnail wp-image-10141516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-184x300.jpg 184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tim McGraw; Photo source: Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>Tim McGraw from New York\u003c/h3>\n\u003ch5>Tuesday, Sept. 16, 6pm\u003cbr>\n\u003ca href=\"www.amexunstaged.com\" target=\"_blank\" rel=\"noopener\">amexunstaged.com\u003c/a>\u003c/h5>\n\u003cp>A woman I once dated would play the songs of \u003ca href=\"https://en.wikipedia.org/wiki/Tim_McGraw\" target=\"_blank\" rel=\"noopener\">Tim McGraw\u003c/a> on her car stereo while driving and swear there was no better music. I disagreed. Completely. But it got me thinking about country music in a way I’d never considered. As in, “Maybe country does have its place in the culture.” With his cowboy voice and his cowboy hats, McGraw is the apotheosis of country’s appeal. His 2014 song “\u003ca href=\"https://www.youtube.com/watch?v=TtArla7PVsM\" target=\"_blank\" rel=\"noopener\">Lookin’ for That Girl\u003c/a>” has an infectious, rock-guitar twang that will appeal to those outside of country’s inner circle. To see for yourself, watch McGraw perform live from New York’s \u003ca href=\"https://en.wikipedia.org/wiki/Hammerstein_Ballroom\" target=\"_blank\" rel=\"noopener\">Hammerstein Ballroom\u003c/a>. The concert is being produced by American Express, for its “Unstaged” series, which matches big-name singers with big-name directors – in this case, the director is \u003ca href=\"https://en.wikipedia.org/wiki/Bennett_Miller\" target=\"_blank\" rel=\"noopener\">Bennett Miller\u003c/a>, whose credits include \u003cem>Moneyball\u003c/em> and \u003cem>Capote\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141519\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SirSimonRattle-e1409874639849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SirSimonRattle-400x225.jpg\" alt=\"Screen shot of YouTube video of Sir Simon Rattle directing the Berlin Philharmoic\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141519\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot of YouTube video of Sir Simon Rattle directing the Berlin Philharmoic\u003c/figcaption>\u003c/figure>\n\u003ch3>Berlin Philharmonic, conducted by Sir Simon Rattle, from Berlin\u003c/h3>\n\u003ch5>Thursday, Sept. 18, 11am\u003cbr>\n\u003ca href=\"http://www.digitalconcerthall.com/en/concert/20250/rattle-schumann-brahms\" target=\"_blank\" rel=\"noopener\">digitalconcerthall.com\u003c/a>\u003c/h5>\n\u003cp>There’s a reason \u003ca href=\"https://en.wikipedia.org/wiki/Berlin_Philharmonic\" target=\"_blank\" rel=\"noopener\">the Berlin Philharmonic\u003c/a> is consistently rated one of the top philharmonics in the world: Its performances are so vivid and physical, the philharmonic plays classical music like it’s a contact sport. \u003ca href=\"https://en.wikipedia.org/wiki/Simon_Rattle\">Sir Simon Rattle \u003c/a>pushes the philharmonic in every direction with his conductor’s baton and pulmonary zeal. What will happen when Rattle and his cohorts tackle \u003ca href=\"https://en.wikipedia.org/wiki/Symphony_No._1_(Schumann)\" target=\"_blank\" rel=\"noopener\">Robert Schumann’s Symphony No. 1 in B flat major\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Symphony_No._1_(Brahms)\" target=\"_blank\" rel=\"noopener\">Johannes Brahms’ Symphony No. 1 in C minor\u003c/a>? These symphonies already have an over-the-top quality that makes audiences think they’re experiencing nothing less than the birth and rebirth of mankind. Watching this match-up of music and musicians, set in the eye-catching \u003ca href=\"https://en.wikipedia.org/wiki/Berliner_Philharmonie\" target=\"_blank\" rel=\"noopener\">Berliner Philharmonie\u003c/a>, promises to be one of the year’s best classical performances. The cost is about $13 (9.9 Euros), which gives you access for a whole week to the Berlin Philharmonic’s web concerts.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141926\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-400x416.jpg\" alt=\"Mötley Crüe\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-10141926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-288x300.jpg 288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg.jpg 563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mötley Crüe\u003c/figcaption>\u003c/figure>\n\u003ch3>iHeartRadio Music Festival from Las Vegas\u003c/h3>\n\u003ch5>Friday, Sept. 19 and Saturday, Sept. 20\u003cbr>\n\u003ca href=\"http://festival.iheart.com/tunein\" target=\"_blank\" rel=\"noopener\">festival.iheart.com\u003c/a>\u003c/h5>\n\u003cp>One of the United States’ biggest media companies, Clear Channel, operates one of the United States’ biggest Internet music portals, \u003ca href=\"http://www.iheart.com/\" target=\"_blank\" rel=\"noopener\">iHeartRadio\u003c/a>, so when it decided to start a \u003ca href=\"https://en.wikipedia.org/wiki/IHeartRadio_Music_Festival\" target=\"_blank\" rel=\"noopener\">music festival\u003c/a> in 2011, of course it chose the most glitzy, garish venue it could find: \u003ca href=\"https://en.wikipedia.org/wiki/MGM_Grand_Las_Vegas\" target=\"_blank\" rel=\"noopener\">The MGM Grand Las Vegas\u003c/a>. More than 15,000 people will jam into the hotel’s concert arena for this \u003ca href=\"http://festival.iheart.com/artists\" target=\"_blank\" rel=\"noopener\">two-day extravaganza\u003c/a> of the most au courant pop music. Usher, Taylor Swift, Coldplay, Mötley Crüe, Lorde, and 50 Cent are among the headliners. The songs will come fast and furious, including online, where it’s being webcast by Yahoo! Two days may not be enough to get in all the material from the artists converging this weekend on the Las Vegas Strip.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-400x265.jpg\" alt=\"Kat Burns with Forest City Lovers; Photo by: Sean Ian Denis Richardson, Share Alike 2.0 via Wikimedia Commons\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-1440x956.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Burns with Forest City Lovers; Photo by: Sean Ian Denis Richardson, Share Alike 2.0 via Wikimedia Commons \u003ccite>(\"Forest City Lovers (drums)\" by Sean Ian Denis Richardson Licensed under Creative Commons Attribution-)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kat Burns from Toronto\u003c/h3>\n\u003ch5>Tuesday, Oct. 21, 6:30pm\u003cbr>\n\u003ca href=\"https://www.stageit.com/kat_burns_kashka/bones_performed_live/39563\" target=\"_blank\" rel=\"noopener\">stageit.com\u003c/a>\u003c/h5>\n\u003cp>For something much quieter than a Las Vegas festival, there’s Canadian singer \u003ca href=\"https://en.wikipedia.org/wiki/Forest_City_Lovers\" target=\"_blank\" rel=\"noopener\">Kat Burns\u003c/a>, whose acoustic guitar playing and smart, sensitive lyrics are a nice way to spend any time on the Internet. Through her work with \u003ca href=\"https://en.wikipedia.org/wiki/Forest_City_Lovers\" target=\"_blank\" rel=\"noopener\">Forest City Lovers\u003c/a> and \u003ca href=\"http://www.kashkamusic.com/\" target=\"_blank\" rel=\"noopener\">KASHKA\u003c/a>, Burns delves into all the subjects (love, chance meetings, strange people, etc.) that give expression to the best folk and smart-rock songs. One of my favorite songs of hers is “\u003ca href=\"https://www.youtube.com/watch?v=B5l05BEJJvo\" target=\"_blank\" rel=\"noopener\">Song for Morrie\u003c/a>,” about an old man who can’t walk, is close to death, but still has an active mind. “Maybe,” Burns sings, “all we need is someone to come home to.” “Song for Morrie” is sweet, fun, and genuinely uplifting and philosophical. Burns’ Oct. 21 performance is through a music platform called Stageit, where you pay whatever you want. Whatever you pay, it will be a bargain.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141521\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-400x300.jpg\" alt=\"A.R.Rahman at 57th FF Awards; Photo courtesy www.bollywoodhungama.com via Wikimedia Commons \" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10141521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards.jpg 585w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A.R.Rahman at 57th FF Awards; Photo courtesy www.bollywoodhungama.com via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>A.R. Rahman Meets Berklee at Boston Symphony Hall\u003c/h3>\n\u003ch5>Friday, Oct. 24, 5pm\u003cbr>\n\u003ca href=\"https://www.concertwindow.com/shows/8499-a-r-rahman-meets-berklee-at-boston-symphony-hall\" target=\"_blank\" rel=\"noopener\">concertwindow.com\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://en.wikipedia.org/wiki/A._R._Rahman\" target=\"_blank\" rel=\"noopener\">A.R. Rahman\u003c/a> is one of the biggest musical names in India. “\u003ca href=\"https://www.youtube.com/watch?v=yKSLPBK8tsU\" target=\"_blank\" rel=\"noopener\">Jai Ho\u003c/a>,” the theme song from \u003cem>Slumdog Millionaire\u003c/em> that won an Academy Award and a Grammy Award? That’s A.R. Rahman. “\u003ca href=\"https://www.youtube.com/watch?v=15gYfUypkPM\" target=\"_blank\" rel=\"noopener\">Chaiyya, Chaiyya,\u003c/a>” the potent song that sets up Spike Lee’s film \u003cem>Inside Man\u003c/em>? That’s A.R. Rahman. It’s rare that Rahman makes his way to perform in the United States, but he’ll be in Boston this night to be with the students and faculty of the acclaimed \u003ca href=\"https://en.wikipedia.org/wiki/Berklee_College_of_Music\" target=\"_blank\" rel=\"noopener\">Berklee College of Music\u003c/a>. The concert at the Berklee Performance Center coincides with \u003ca href=\"http://www.berklee.edu/news/academy-award-winning-composer-ar-rahman-receive-honorary-doctorate-berklee\" target=\"_blank\" rel=\"noopener\">the school giving Rahman an honorary doctorate.\u003c/a> This is another online concert with a suggested donation. It’s free to watch the first few minutes. Most people can’t resist Rahman, which is why his music is in such demand around the world.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141523\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-400x497.jpg\" alt=\"Emmanuelle Haim; Photo by Mrug - Own work, Share Alike 3.0-2.5-2.0-1.0 via Wikimedia Commons \" width=\"400\" height=\"497\" class=\"size-thumbnail wp-image-10141523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-400x497.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-241x300.jpg 241w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emmanuelle Haim; Photo by Mrug – Own work, Share Alike 3.0-2.5-2.0-1.0 via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>Berlin Philharmonic with Emmanuelle Haim from Berlin\u003c/h3>\n\u003ch5>Friday, Oct. 31, 11am\u003cbr>\n\u003ca href=\"http://www.digitalconcerthall.com/en/live\" target=\"_blank\" rel=\"noopener\">digitalconcerthall.com\u003c/a>\u003c/h5>\n\u003cp>The French conductor \u003ca href=\"https://en.wikipedia.org/wiki/Emmanuelle_Ha%C3%AFm\" target=\"_blank\" rel=\"noopener\">Emmanuelle Haim\u003c/a> frequently plays harpsichord while leading her orchestras in grandiose works of early and classical music. There’s nothing quite like it, and this performance is a chance to witness Haim’s musical pyrotechnics as she directs the Berlin Philharmonic in George Frideric Handel’s\u003cbr>\n”\u003ca href=\"https://en.wikipedia.org/wiki/La_resurrezione\" target=\"_blank\" rel=\"noopener\">La resurrezione (Resurrection).\u003c/a>” Handel’s work utilizes a flurry of beautiful operatic voices, which will be performed here by, among others, Swedish soprano \u003ca href=\"https://en.wikipedia.org/wiki/Camilla_Tilling\" target=\"_blank\" rel=\"noopener\">Camilla Tilling\u003c/a> and Finnish tenor \u003ca href=\"https://en.wikipedia.org/wiki/Topi_Lehtipuu\" target=\"_blank\" rel=\"noopener\">Topi Lehtipuu\u003c/a>. It’s a stalwart Europe-wide lineup for a night at the opera in Berlin.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Ever tempted to just hop on a plane and travel halfway round the globe when your favorite musician is performing in a venue you know will be great? Then you remember that there are only a few bucks left in the bank and maybe you shouldn't max out another credit card... Worry not! These seven concerts cost little to nothing and can be watched from the comfort of your home computer. ",
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"title": "Beyond the Bay: 7 Virtual Concerts You Should See This Fall | KQED",
"description": "Ever tempted to just hop on a plane and travel halfway round the globe when your favorite musician is performing in a venue you know will be great? Then you remember that there are only a few bucks left in the bank and maybe you shouldn't max out another credit card... Worry not! These seven concerts cost little to nothing and can be watched from the comfort of your home computer. ",
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"headline": "Beyond the Bay: 7 Virtual Concerts You Should See This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10141930\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-400x600.jpg\" alt=\"Chrissie Hynde; Photo by Harmony Gerber via Wikimedia Commons\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Chrissie_Hynde_20131.jpg 533w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chrissie Hynde; Photo by Harmony Gerber via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003cp>It’s always so tempting when your favorite musician is performing halfway around the world, in a city you’d \u003cem>love\u003c/em> to visit, at a venue you \u003cem>know\u003c/em> would be perfect. I’ve met fans of British singer \u003ca href=\"https://en.wikipedia.org/wiki/Beth_Orton\" target=\"_blank\" rel=\"noopener\">Beth Orton\u003c/a> who flew from New York to London just to hear her perform one night at a small club called \u003ca href=\"https://en.wikipedia.org/wiki/The_Spitz\" target=\"_blank\" rel=\"noopener\">The Spitz\u003c/a>. Orton’s performance was awe-inspiring, but was it worth paying $2,000 for everything from air fare to a hotel room to the actual ticket? And what about the time it took to get to London and back?\u003c/p>\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>OK, it \u003cem>was\u003c/em> worth it. But if you don’t have the time or the money this fall, you can always go for Plan B: Watching your ideal concert online, for just a few dollars or (here’s even better news) FREE. Yes, there are scores of great concerts this fall outside the Bay Area that, virtually, you can attend live. Here are seven concerts – a mix of rock, folk, country, and classical – that I’m planning to check out. The only catch: 8pm in London means 11am in San Francisco. So while the people at the actual concert might be partying at night like it’s 2099, it’ll be daytime for you. Slightly surreal, yes. But that’s a small price to pay for a concert that, one song at a time, transports you far beyond the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141923\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/blondie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/blondie-400x256.jpg\" alt=\"Blondie; Photo by Danielle-St.-Laurent\" width=\"400\" height=\"256\" class=\"size-thumbnail wp-image-10141923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie-300x192.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/blondie.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Blondie; Photo by Danielle-St.-Laurent\u003c/figcaption>\u003c/figure>\n\u003ch3>Chrissie Hynde and Blondie from London\u003c/h3>\n\u003ch5>Tuesday, September 16, 11:30am\u003cbr>\n\u003ca href=\"http://www.itunesfestival.com\">itunesfestival.com\u003c/a>\u003c/h5>\n\u003cp>American rock music hit a high point in the late 1970s and early ‘80s with the ascension of \u003ca href=\"https://en.wikipedia.org/wiki/Chrissie_Hynde\" target=\"_blank\" rel=\"noopener\">Chrissie Hynde\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Blondie_%28band%29\" target=\"_blank\" rel=\"noopener\">Blondie\u003c/a>. “Kid” and “Brass in Pocket” (Hynde with \u003ca href=\"https://en.wikipedia.org/wiki/The_Pretenders\" target=\"_blank\" rel=\"noopener\">The Pretenders\u003c/a>), and “Call Me” and “Heart of Glass” (Blondie), combined elements of hard rock with experimental music and pop riffs. It was all so satisfying. Still is. So a concert with both Hynde and Blondie – led by the inimitable \u003ca href=\"https://en.wikipedia.org/wiki/Debbie_Harry\" target=\"_blank\" rel=\"noopener\">Debbie Harry\u003c/a> – is cause for celebration. The double bill (Hynde at 11:30am, Blondie at 1pm) is part of the \u003ca href=\"http://www.itunesfestival.com/\" target=\"_blank\" rel=\"noopener\">iTunes festival\u003c/a> at London’s \u003ca href=\"http://www.roundhouse.org.uk/about-us/\" target=\"_blank\" rel=\"noopener\">Roundhouse\u003c/a>, an ideal place for concerts. The iTunes concerts, which began on September 1 and continue through September 30, are free to watch, though they have to be seen on iTunes or an Apple TV.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141516\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-400x651.jpg\" alt=\"Tim McGraw; Photo source: Wikimedia Commons\" width=\"400\" height=\"651\" class=\"size-thumbnail wp-image-10141516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw-184x300.jpg 184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Tim_McGraw.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tim McGraw; Photo source: Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>Tim McGraw from New York\u003c/h3>\n\u003ch5>Tuesday, Sept. 16, 6pm\u003cbr>\n\u003ca href=\"www.amexunstaged.com\" target=\"_blank\" rel=\"noopener\">amexunstaged.com\u003c/a>\u003c/h5>\n\u003cp>A woman I once dated would play the songs of \u003ca href=\"https://en.wikipedia.org/wiki/Tim_McGraw\" target=\"_blank\" rel=\"noopener\">Tim McGraw\u003c/a> on her car stereo while driving and swear there was no better music. I disagreed. Completely. But it got me thinking about country music in a way I’d never considered. As in, “Maybe country does have its place in the culture.” With his cowboy voice and his cowboy hats, McGraw is the apotheosis of country’s appeal. His 2014 song “\u003ca href=\"https://www.youtube.com/watch?v=TtArla7PVsM\" target=\"_blank\" rel=\"noopener\">Lookin’ for That Girl\u003c/a>” has an infectious, rock-guitar twang that will appeal to those outside of country’s inner circle. To see for yourself, watch McGraw perform live from New York’s \u003ca href=\"https://en.wikipedia.org/wiki/Hammerstein_Ballroom\" target=\"_blank\" rel=\"noopener\">Hammerstein Ballroom\u003c/a>. The concert is being produced by American Express, for its “Unstaged” series, which matches big-name singers with big-name directors – in this case, the director is \u003ca href=\"https://en.wikipedia.org/wiki/Bennett_Miller\" target=\"_blank\" rel=\"noopener\">Bennett Miller\u003c/a>, whose credits include \u003cem>Moneyball\u003c/em> and \u003cem>Capote\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141519\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SirSimonRattle-e1409874639849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SirSimonRattle-400x225.jpg\" alt=\"Screen shot of YouTube video of Sir Simon Rattle directing the Berlin Philharmoic\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141519\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot of YouTube video of Sir Simon Rattle directing the Berlin Philharmoic\u003c/figcaption>\u003c/figure>\n\u003ch3>Berlin Philharmonic, conducted by Sir Simon Rattle, from Berlin\u003c/h3>\n\u003ch5>Thursday, Sept. 18, 11am\u003cbr>\n\u003ca href=\"http://www.digitalconcerthall.com/en/concert/20250/rattle-schumann-brahms\" target=\"_blank\" rel=\"noopener\">digitalconcerthall.com\u003c/a>\u003c/h5>\n\u003cp>There’s a reason \u003ca href=\"https://en.wikipedia.org/wiki/Berlin_Philharmonic\" target=\"_blank\" rel=\"noopener\">the Berlin Philharmonic\u003c/a> is consistently rated one of the top philharmonics in the world: Its performances are so vivid and physical, the philharmonic plays classical music like it’s a contact sport. \u003ca href=\"https://en.wikipedia.org/wiki/Simon_Rattle\">Sir Simon Rattle \u003c/a>pushes the philharmonic in every direction with his conductor’s baton and pulmonary zeal. What will happen when Rattle and his cohorts tackle \u003ca href=\"https://en.wikipedia.org/wiki/Symphony_No._1_(Schumann)\" target=\"_blank\" rel=\"noopener\">Robert Schumann’s Symphony No. 1 in B flat major\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Symphony_No._1_(Brahms)\" target=\"_blank\" rel=\"noopener\">Johannes Brahms’ Symphony No. 1 in C minor\u003c/a>? These symphonies already have an over-the-top quality that makes audiences think they’re experiencing nothing less than the birth and rebirth of mankind. Watching this match-up of music and musicians, set in the eye-catching \u003ca href=\"https://en.wikipedia.org/wiki/Berliner_Philharmonie\" target=\"_blank\" rel=\"noopener\">Berliner Philharmonie\u003c/a>, promises to be one of the year’s best classical performances. The cost is about $13 (9.9 Euros), which gives you access for a whole week to the Berlin Philharmonic’s web concerts.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141926\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-400x416.jpg\" alt=\"Mötley Crüe\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-10141926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-400x416.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-288x300.jpg 288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/motley-crue-2013-jpg.jpg 563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mötley Crüe\u003c/figcaption>\u003c/figure>\n\u003ch3>iHeartRadio Music Festival from Las Vegas\u003c/h3>\n\u003ch5>Friday, Sept. 19 and Saturday, Sept. 20\u003cbr>\n\u003ca href=\"http://festival.iheart.com/tunein\" target=\"_blank\" rel=\"noopener\">festival.iheart.com\u003c/a>\u003c/h5>\n\u003cp>One of the United States’ biggest media companies, Clear Channel, operates one of the United States’ biggest Internet music portals, \u003ca href=\"http://www.iheart.com/\" target=\"_blank\" rel=\"noopener\">iHeartRadio\u003c/a>, so when it decided to start a \u003ca href=\"https://en.wikipedia.org/wiki/IHeartRadio_Music_Festival\" target=\"_blank\" rel=\"noopener\">music festival\u003c/a> in 2011, of course it chose the most glitzy, garish venue it could find: \u003ca href=\"https://en.wikipedia.org/wiki/MGM_Grand_Las_Vegas\" target=\"_blank\" rel=\"noopener\">The MGM Grand Las Vegas\u003c/a>. More than 15,000 people will jam into the hotel’s concert arena for this \u003ca href=\"http://festival.iheart.com/artists\" target=\"_blank\" rel=\"noopener\">two-day extravaganza\u003c/a> of the most au courant pop music. Usher, Taylor Swift, Coldplay, Mötley Crüe, Lorde, and 50 Cent are among the headliners. The songs will come fast and furious, including online, where it’s being webcast by Yahoo! Two days may not be enough to get in all the material from the artists converging this weekend on the Las Vegas Strip.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141512\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-400x265.jpg\" alt=\"Kat Burns with Forest City Lovers; Photo by: Sean Ian Denis Richardson, Share Alike 2.0 via Wikimedia Commons\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Forest_City_Lovers_drums-1440x956.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kat Burns with Forest City Lovers; Photo by: Sean Ian Denis Richardson, Share Alike 2.0 via Wikimedia Commons \u003ccite>(\"Forest City Lovers (drums)\" by Sean Ian Denis Richardson Licensed under Creative Commons Attribution-)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kat Burns from Toronto\u003c/h3>\n\u003ch5>Tuesday, Oct. 21, 6:30pm\u003cbr>\n\u003ca href=\"https://www.stageit.com/kat_burns_kashka/bones_performed_live/39563\" target=\"_blank\" rel=\"noopener\">stageit.com\u003c/a>\u003c/h5>\n\u003cp>For something much quieter than a Las Vegas festival, there’s Canadian singer \u003ca href=\"https://en.wikipedia.org/wiki/Forest_City_Lovers\" target=\"_blank\" rel=\"noopener\">Kat Burns\u003c/a>, whose acoustic guitar playing and smart, sensitive lyrics are a nice way to spend any time on the Internet. Through her work with \u003ca href=\"https://en.wikipedia.org/wiki/Forest_City_Lovers\" target=\"_blank\" rel=\"noopener\">Forest City Lovers\u003c/a> and \u003ca href=\"http://www.kashkamusic.com/\" target=\"_blank\" rel=\"noopener\">KASHKA\u003c/a>, Burns delves into all the subjects (love, chance meetings, strange people, etc.) that give expression to the best folk and smart-rock songs. One of my favorite songs of hers is “\u003ca href=\"https://www.youtube.com/watch?v=B5l05BEJJvo\" target=\"_blank\" rel=\"noopener\">Song for Morrie\u003c/a>,” about an old man who can’t walk, is close to death, but still has an active mind. “Maybe,” Burns sings, “all we need is someone to come home to.” “Song for Morrie” is sweet, fun, and genuinely uplifting and philosophical. Burns’ Oct. 21 performance is through a music platform called Stageit, where you pay whatever you want. Whatever you pay, it will be a bargain.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141521\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-400x300.jpg\" alt=\"A.R.Rahman at 57th FF Awards; Photo courtesy www.bollywoodhungama.com via Wikimedia Commons \" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10141521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/A.R.Rahman_at_57th_FF_Awards.jpg 585w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A.R.Rahman at 57th FF Awards; Photo courtesy www.bollywoodhungama.com via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>A.R. Rahman Meets Berklee at Boston Symphony Hall\u003c/h3>\n\u003ch5>Friday, Oct. 24, 5pm\u003cbr>\n\u003ca href=\"https://www.concertwindow.com/shows/8499-a-r-rahman-meets-berklee-at-boston-symphony-hall\" target=\"_blank\" rel=\"noopener\">concertwindow.com\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://en.wikipedia.org/wiki/A._R._Rahman\" target=\"_blank\" rel=\"noopener\">A.R. Rahman\u003c/a> is one of the biggest musical names in India. “\u003ca href=\"https://www.youtube.com/watch?v=yKSLPBK8tsU\" target=\"_blank\" rel=\"noopener\">Jai Ho\u003c/a>,” the theme song from \u003cem>Slumdog Millionaire\u003c/em> that won an Academy Award and a Grammy Award? That’s A.R. Rahman. “\u003ca href=\"https://www.youtube.com/watch?v=15gYfUypkPM\" target=\"_blank\" rel=\"noopener\">Chaiyya, Chaiyya,\u003c/a>” the potent song that sets up Spike Lee’s film \u003cem>Inside Man\u003c/em>? That’s A.R. Rahman. It’s rare that Rahman makes his way to perform in the United States, but he’ll be in Boston this night to be with the students and faculty of the acclaimed \u003ca href=\"https://en.wikipedia.org/wiki/Berklee_College_of_Music\" target=\"_blank\" rel=\"noopener\">Berklee College of Music\u003c/a>. The concert at the Berklee Performance Center coincides with \u003ca href=\"http://www.berklee.edu/news/academy-award-winning-composer-ar-rahman-receive-honorary-doctorate-berklee\" target=\"_blank\" rel=\"noopener\">the school giving Rahman an honorary doctorate.\u003c/a> This is another online concert with a suggested donation. It’s free to watch the first few minutes. Most people can’t resist Rahman, which is why his music is in such demand around the world.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141523\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-400x497.jpg\" alt=\"Emmanuelle Haim; Photo by Mrug - Own work, Share Alike 3.0-2.5-2.0-1.0 via Wikimedia Commons \" width=\"400\" height=\"497\" class=\"size-thumbnail wp-image-10141523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-400x497.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim-241x300.jpg 241w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/640px-Emmanuelle_Haim.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emmanuelle Haim; Photo by Mrug – Own work, Share Alike 3.0-2.5-2.0-1.0 via Wikimedia Commons\u003c/figcaption>\u003c/figure>\n\u003ch3>Berlin Philharmonic with Emmanuelle Haim from Berlin\u003c/h3>\n\u003ch5>Friday, Oct. 31, 11am\u003cbr>\n\u003ca href=\"http://www.digitalconcerthall.com/en/live\" target=\"_blank\" rel=\"noopener\">digitalconcerthall.com\u003c/a>\u003c/h5>\n\u003cp>The French conductor \u003ca href=\"https://en.wikipedia.org/wiki/Emmanuelle_Ha%C3%AFm\" target=\"_blank\" rel=\"noopener\">Emmanuelle Haim\u003c/a> frequently plays harpsichord while leading her orchestras in grandiose works of early and classical music. There’s nothing quite like it, and this performance is a chance to witness Haim’s musical pyrotechnics as she directs the Berlin Philharmonic in George Frideric Handel’s\u003cbr>\n”\u003ca href=\"https://en.wikipedia.org/wiki/La_resurrezione\" target=\"_blank\" rel=\"noopener\">La resurrezione (Resurrection).\u003c/a>” Handel’s work utilizes a flurry of beautiful operatic voices, which will be performed here by, among others, Swedish soprano \u003ca href=\"https://en.wikipedia.org/wiki/Camilla_Tilling\" target=\"_blank\" rel=\"noopener\">Camilla Tilling\u003c/a> and Finnish tenor \u003ca href=\"https://en.wikipedia.org/wiki/Topi_Lehtipuu\" target=\"_blank\" rel=\"noopener\">Topi Lehtipuu\u003c/a>. It’s a stalwart Europe-wide lineup for a night at the opera in Berlin.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Baseball-Themed R.E.M. Side Project Plays True 'Stadium Rock'",
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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/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/the-baseball-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The Baseball Project\u003c/h4>\n\u003cdiv class=\"event-desc\">Supergroup that loves the game of baseball.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-baseball-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Every baseball fan has a favorite song about the game—mine happens to be “\u003ca href=\"https://www.youtube.com/watch?v=c10REBi26hU\" target=\"_blank\" rel=\"noopener\">A Dying Cubs Fan’s Last Request\u003c/a>,” by Steve Goodman—but who has a favorite \u003cem>band\u003c/em> about the game? Only those who know about the Baseball Project, that’s who. Currently including Mike Mills from R.E.M., Scott \u003cspan class=\"st\">McCaughey from the Young Fresh Fellows and Minus 5 and Steve Wynn from the Dream Syndicate, the Baseball Project has, since 2007, \u003c/span>committed itself to writing, recording and performing songs about the nation’s greatest pastime.\u003c/p>\n\u003cp>If you hate baseball, stop reading now. But if your Giants cap is covered in \u003ca href=\"http://sfgiantsitalia.files.wordpress.com/2012/03/croix_de_candlestick.jpg\" target=\"_blank\" rel=\"noopener\">Croix de Candlestick pins\u003c/a>, or you have the winning \u003ca href=\"https://www.youtube.com/watch?v=34mz7wQKTB0\" target=\"_blank\" rel=\"noopener\">Harey Carey call from the 1984 Sandberg game\u003c/a> memorized, or if you’re either shedding a tear or shaking a fist every time Derek Jeter \u003ca href=\"https://www.youtube.com/watch?v=2HRql_d1VfE\" target=\"_blank\" rel=\"noopener\">airs a tribute to himself and takes his ceremonial goodbye bow\u003c/a> at ballparks around the country this month, well, the Baseball Project is basically the soundtrack to your life. (At least through October.)\u003c/p>\n\u003cp>Passion for the game underlines every Baseball Project song. The band’s new album, \u003cem>3rd\u003c/em>, contains a stab at Alex Rodriguez (“13”), a dissection of Lenny Dykstra (“From Nails to Thumbtacks”) and a psychological rumination on Hank Aaron (“They Don’t Know Henry”). But Bay Area fans will note “They are the Oakland A’s,” which chronicles the surprise that the rest of the nation feels each September when the A’s grand-slam, come back or walk off their way into the playoffs: “Beyond logic or all reason, they keep goin’ to the postseason / Who are these guys? They’re the Oakland A’s!”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Do7JCGQ0wts&w=420&h=315]\u003c/p>\n\u003cp>At the Chapel this week—while the A’s struggle to get out of their post-Cespedes-trade slump—there’s sure to be a lot of Oakland fans singing along.\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/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/the-baseball-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The Baseball Project\u003c/h4>\n\u003cdiv class=\"event-desc\">Supergroup that loves the game of baseball.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 8, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Chapel\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-baseball-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Every baseball fan has a favorite song about the game—mine happens to be “\u003ca href=\"https://www.youtube.com/watch?v=c10REBi26hU\" target=\"_blank\" rel=\"noopener\">A Dying Cubs Fan’s Last Request\u003c/a>,” by Steve Goodman—but who has a favorite \u003cem>band\u003c/em> about the game? Only those who know about the Baseball Project, that’s who. Currently including Mike Mills from R.E.M., Scott \u003cspan class=\"st\">McCaughey from the Young Fresh Fellows and Minus 5 and Steve Wynn from the Dream Syndicate, the Baseball Project has, since 2007, \u003c/span>committed itself to writing, recording and performing songs about the nation’s greatest pastime.\u003c/p>\n\u003cp>If you hate baseball, stop reading now. But if your Giants cap is covered in \u003ca href=\"http://sfgiantsitalia.files.wordpress.com/2012/03/croix_de_candlestick.jpg\" target=\"_blank\" rel=\"noopener\">Croix de Candlestick pins\u003c/a>, or you have the winning \u003ca href=\"https://www.youtube.com/watch?v=34mz7wQKTB0\" target=\"_blank\" rel=\"noopener\">Harey Carey call from the 1984 Sandberg game\u003c/a> memorized, or if you’re either shedding a tear or shaking a fist every time Derek Jeter \u003ca href=\"https://www.youtube.com/watch?v=2HRql_d1VfE\" target=\"_blank\" rel=\"noopener\">airs a tribute to himself and takes his ceremonial goodbye bow\u003c/a> at ballparks around the country this month, well, the Baseball Project is basically the soundtrack to your life. (At least through October.)\u003c/p>\n\u003cp>Passion for the game underlines every Baseball Project song. The band’s new album, \u003cem>3rd\u003c/em>, contains a stab at Alex Rodriguez (“13”), a dissection of Lenny Dykstra (“From Nails to Thumbtacks”) and a psychological rumination on Hank Aaron (“They Don’t Know Henry”). But Bay Area fans will note “They are the Oakland A’s,” which chronicles the surprise that the rest of the nation feels each September when the A’s grand-slam, come back or walk off their way into the playoffs: “Beyond logic or all reason, they keep goin’ to the postseason / Who are these guys? They’re the Oakland A’s!”\u003c/p>\n\u003cp>\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/Do7JCGQ0wts'\n title='//www.youtube.com/embed/Do7JCGQ0wts'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the Chapel this week—while the A’s struggle to get out of their post-Cespedes-trade slump—there’s sure to be a lot of Oakland fans singing along.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen the The Bay Bridged podcast of bands playing live this month in the Bay Area, including: PAWS, The Aislers Set, Son Lux, Quaaludes, CATHEDRALS, Foxes in Fiction and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_September_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>If you dig back-to-basics noise pop — the kind of indie rock that’s propelled by great hooks, not trends and hype — you’re in luck this month. Scottish trio \u003ca href=\"https://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> just released \u003cem>Youth Culture Forever\u003c/em>, and the band’s tight songs are matched by a live ferocity. Another trio crafting explosive, 90s-influenced rock is \u003ca href=\"https://www.facebook.com/pages/Slothrust/120763131304926\" target=\"_blank\" rel=\"noopener\">Slothrust\u003c/a>; the Brooklyn band’s \u003cem>Of Course You Do\u003c/em> arrived earlier this year. As luck would have it, Slothrust recently played some shows with \u003ca href=\"https://www.facebook.com/cymbalseatguitars\" target=\"_blank\" rel=\"noopener\">Cymbals Eat Guitars\u003c/a>, but, in September, the Jersey quartet arrives on a tour with indie elder statesman Bob Mould. Cymbals Eat Guitars’ new album \u003cem>LOSE\u003c/em> is a varied, expansive collection of songs out now on Barsuk. And if that classic indie sound isn’t your speed, we’ve got you covered too, with songs highlighting \u003ca href=\"https://www.facebook.com/sonlux\" target=\"_blank\" rel=\"noopener\">Son Lux\u003c/a> and \u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> for electronic pop aficionados and \u003ca href=\"http://wandband.info/\" target=\"_blank\" rel=\"noopener\">Wand\u003c/a> for the psych heads. \u003c/p>\n\u003cp>We’ve included some newer local bands in this mix, including \u003ca href=\"https://www.facebook.com/quaaludesmusic\" target=\"_blank\" rel=\"noopener\">Quaaludes\u003c/a> and \u003ca href=\"https://www.facebook.com/WeAreCathedrals\" target=\"_blank\" rel=\"noopener\">CATHEDRALS\u003c/a>, but we’re equally excited for the return of pioneering local indie poppers \u003ca href=\"http://www.aislersset.com/\" target=\"_blank\" rel=\"noopener\">The Aislers Set\u003c/a>. The group’s records are now being reissued, making it a great time to discover (or rediscover) this terrific band. This month also sees the return of the \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fair\u003c/a> at Thee Parkside. After an extremely successful debut in February, the fair’s second installment is bigger than ever, with over 40 Bay Area labels selling their wares and performances by several excellent local bands, including \u003ca href=\"https://www.facebook.com/HotFlashHeatWave\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a>.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> – “Tongues”\u003cbr>\nOn September 24, the Glasgow band’s tour with Total Slacker and Flashlights comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/foxesinfiction\" target=\"_blank\" rel=\"noopener\">Foxes in Fiction\u003c/a> – “Rearrange”\u003cbr>\nPlaying with Avi Buffalo on September 12 at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a> – “Slam Dance”\u003cbr>\nPerforming at the Bay Area Record Fair at \u003ca href=\"http://theeparkside.com/\" target=\"_blank\" rel=\"noopener\">Thee Parkside\u003c/a> on September 27.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quaaludesmusic\" target=\"_blank\" rel=\"noopener\">Quaaludes\u003c/a> – “Know Wada Mean”\u003cbr>\nThe band is releasing a new EP at \u003ca href=\"https://www.facebook.com/pages/The-Knockout/129284561110?ref=ts\" target=\"_blank\" rel=\"noopener\">The Knockout\u003c/a> on September 18 alongside Generation Loss, Man Hands, and Bad Daddies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/zammutosound\" target=\"_blank\" rel=\"noopener\">Zammuto\u003c/a> – “Need Some Sun”\u003cbr>\nThe Books member Nick Zammuto’s band performs on September 20 at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> with Luke Wyland (of AU).\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> – “Man on the Coast”\u003cbr>\nA Million Billion Dying Suns and Foli round out this all-local bill at \u003ca href=\"http://www.elriosf.com\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> on September 14.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sonlux\" target=\"_blank\" rel=\"noopener\">Son Lux\u003c/a> – “Easy”\u003cbr>\nHeadlining \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on September 20; Helado Negro opens.\u003c/p>\n\u003cp>\u003ca href=\"http://michaelbeach.org/\" target=\"_blank\" rel=\"noopener\">Michael Beach\u003c/a> – “Dirt”\u003cbr>\nSupporting Yonatan Gat at \u003ca href=\"https://www.facebook.com/pages/The-Knockout/129284561110?ref=ts\" target=\"_blank\" rel=\"noopener\">The Knockout\u003c/a> and at \u003ca href=\"https://www.facebook.com/awakencafe\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> on September 13.\u003c/p>\n\u003cp>\u003ca href=\"http://www.aislersset.com/\" target=\"_blank\" rel=\"noopener\">The Aislers Set\u003c/a> – “Long Division”\u003cbr>\nThe reunited SF band headlines \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on September 28; Cold Beat and The Mantles kick off the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Slothrust/120763131304926\" target=\"_blank\" rel=\"noopener\">Slothrust\u003c/a> – “Homewreck Wifey”\u003cbr>\nComing to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on September 30; locals Void Boys and Baus support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Richard-Buckner/361420247300608\" target=\"_blank\" rel=\"noopener\">Richard Buckner\u003c/a> – “Beautiful Question”\u003cbr>\nOdawas supports the singer-songwriter on September 15 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://wandband.info/\" target=\"_blank\" rel=\"noopener\">Wand\u003c/a> – “Flying Golem”\u003cbr>\nAppearing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on September 29 with Hollow Sunshine and Male Gaze.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cymbalseatguitars\" target=\"_blank\" rel=\"noopener\">Cymbals Eat Guitars\u003c/a> – “Jackson”\u003cbr>\nTouring with Bob Mould, Cymbals Eat Guitars heads to \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a> on September 26.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Orenda-Fink/100910303080\" target=\"_blank\" rel=\"noopener\">Orenda Fink\u003c/a> – “Ace of Cups”\u003cbr>\nAppearing on September 25 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> with Extra Classic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WeAreCathedrals\" target=\"_blank\" rel=\"noopener\">CATHEDRALS\u003c/a> – “Want My Love”\u003cbr>\nPlaying the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on September 11 alongisde Tomas Barfod and Grizfolk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen the The Bay Bridged podcast of bands playing live this month in the Bay Area, including: PAWS, The Aislers Set, Son Lux, Quaaludes, CATHEDRALS, Foxes in Fiction and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_September_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>If you dig back-to-basics noise pop — the kind of indie rock that’s propelled by great hooks, not trends and hype — you’re in luck this month. Scottish trio \u003ca href=\"https://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> just released \u003cem>Youth Culture Forever\u003c/em>, and the band’s tight songs are matched by a live ferocity. Another trio crafting explosive, 90s-influenced rock is \u003ca href=\"https://www.facebook.com/pages/Slothrust/120763131304926\" target=\"_blank\" rel=\"noopener\">Slothrust\u003c/a>; the Brooklyn band’s \u003cem>Of Course You Do\u003c/em> arrived earlier this year. As luck would have it, Slothrust recently played some shows with \u003ca href=\"https://www.facebook.com/cymbalseatguitars\" target=\"_blank\" rel=\"noopener\">Cymbals Eat Guitars\u003c/a>, but, in September, the Jersey quartet arrives on a tour with indie elder statesman Bob Mould. Cymbals Eat Guitars’ new album \u003cem>LOSE\u003c/em> is a varied, expansive collection of songs out now on Barsuk. And if that classic indie sound isn’t your speed, we’ve got you covered too, with songs highlighting \u003ca href=\"https://www.facebook.com/sonlux\" target=\"_blank\" rel=\"noopener\">Son Lux\u003c/a> and \u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> for electronic pop aficionados and \u003ca href=\"http://wandband.info/\" target=\"_blank\" rel=\"noopener\">Wand\u003c/a> for the psych heads. \u003c/p>\n\u003cp>We’ve included some newer local bands in this mix, including \u003ca href=\"https://www.facebook.com/quaaludesmusic\" target=\"_blank\" rel=\"noopener\">Quaaludes\u003c/a> and \u003ca href=\"https://www.facebook.com/WeAreCathedrals\" target=\"_blank\" rel=\"noopener\">CATHEDRALS\u003c/a>, but we’re equally excited for the return of pioneering local indie poppers \u003ca href=\"http://www.aislersset.com/\" target=\"_blank\" rel=\"noopener\">The Aislers Set\u003c/a>. The group’s records are now being reissued, making it a great time to discover (or rediscover) this terrific band. This month also sees the return of the \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fair\u003c/a> at Thee Parkside. After an extremely successful debut in February, the fair’s second installment is bigger than ever, with over 40 Bay Area labels selling their wares and performances by several excellent local bands, including \u003ca href=\"https://www.facebook.com/HotFlashHeatWave\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a>.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">About the bands:\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wehavepaws\" target=\"_blank\" rel=\"noopener\">PAWS\u003c/a> – “Tongues”\u003cbr>\nOn September 24, the Glasgow band’s tour with Total Slacker and Flashlights comes to the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/foxesinfiction\" target=\"_blank\" rel=\"noopener\">Foxes in Fiction\u003c/a> – “Rearrange”\u003cbr>\nPlaying with Avi Buffalo on September 12 at the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/HotFlashHeatWave\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave\u003c/a> – “Slam Dance”\u003cbr>\nPerforming at the Bay Area Record Fair at \u003ca href=\"http://theeparkside.com/\" target=\"_blank\" rel=\"noopener\">Thee Parkside\u003c/a> on September 27.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quaaludesmusic\" target=\"_blank\" rel=\"noopener\">Quaaludes\u003c/a> – “Know Wada Mean”\u003cbr>\nThe band is releasing a new EP at \u003ca href=\"https://www.facebook.com/pages/The-Knockout/129284561110?ref=ts\" target=\"_blank\" rel=\"noopener\">The Knockout\u003c/a> on September 18 alongside Generation Loss, Man Hands, and Bad Daddies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/zammutosound\" target=\"_blank\" rel=\"noopener\">Zammuto\u003c/a> – “Need Some Sun”\u003cbr>\nThe Books member Nick Zammuto’s band performs on September 20 at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> with Luke Wyland (of AU).\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Seatraffic\" target=\"_blank\" rel=\"noopener\">Seatraffic\u003c/a> – “Man on the Coast”\u003cbr>\nA Million Billion Dying Suns and Foli round out this all-local bill at \u003ca href=\"http://www.elriosf.com\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> on September 14.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sonlux\" target=\"_blank\" rel=\"noopener\">Son Lux\u003c/a> – “Easy”\u003cbr>\nHeadlining \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> on September 20; Helado Negro opens.\u003c/p>\n\u003cp>\u003ca href=\"http://michaelbeach.org/\" target=\"_blank\" rel=\"noopener\">Michael Beach\u003c/a> – “Dirt”\u003cbr>\nSupporting Yonatan Gat at \u003ca href=\"https://www.facebook.com/pages/The-Knockout/129284561110?ref=ts\" target=\"_blank\" rel=\"noopener\">The Knockout\u003c/a> and at \u003ca href=\"https://www.facebook.com/awakencafe\" target=\"_blank\" rel=\"noopener\">Awaken Cafe\u003c/a> on September 13.\u003c/p>\n\u003cp>\u003ca href=\"http://www.aislersset.com/\" target=\"_blank\" rel=\"noopener\">The Aislers Set\u003c/a> – “Long Division”\u003cbr>\nThe reunited SF band headlines \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> on September 28; Cold Beat and The Mantles kick off the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Slothrust/120763131304926\" target=\"_blank\" rel=\"noopener\">Slothrust\u003c/a> – “Homewreck Wifey”\u003cbr>\nComing to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on September 30; locals Void Boys and Baus support.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Richard-Buckner/361420247300608\" target=\"_blank\" rel=\"noopener\">Richard Buckner\u003c/a> – “Beautiful Question”\u003cbr>\nOdawas supports the singer-songwriter on September 15 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://wandband.info/\" target=\"_blank\" rel=\"noopener\">Wand\u003c/a> – “Flying Golem”\u003cbr>\nAppearing at the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on September 29 with Hollow Sunshine and Male Gaze.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cymbalseatguitars\" target=\"_blank\" rel=\"noopener\">Cymbals Eat Guitars\u003c/a> – “Jackson”\u003cbr>\nTouring with Bob Mould, Cymbals Eat Guitars heads to \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a> on September 26.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Orenda-Fink/100910303080\" target=\"_blank\" rel=\"noopener\">Orenda Fink\u003c/a> – “Ace of Cups”\u003cbr>\nAppearing on September 25 at the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> with Extra Classic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WeAreCathedrals\" target=\"_blank\" rel=\"noopener\">CATHEDRALS\u003c/a> – “Want My Love”\u003cbr>\nPlaying the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on September 11 alongisde Tomas Barfod and Grizfolk.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Getting Classical on the Playa: Burning Man Diversifies Its Musical Offerings",
"headTitle": "Getting Classical on the Playa: Burning Man Diversifies Its Musical Offerings | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to April Dembosky’s piece about playing violin with an classical orchestra at Burning Man 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-05c-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The well-established soundscape at Burning Man is an audio layer cake of dub step and techno. About 66,000 people gathered in the Nevada desert last week for the annual arts festival – and many of them spent their nights at post-apocalyptic raves, spinning fire hoola hoops, passing chapstick around the dance floor, all while swaying their hips in an inarticulate jive that vaguely mirrored the electronic beat spilling out of the speakers. \u003c/p>\n\u003cp>“Eat sleep rave repeat. Eat sleep rave repeat,” is the refrain of one song played all over the playa this year. It’s a stereotypical, yet quintessential, sentiment at Burning Man.\u003c/p>\n\u003cfigure id=\"attachment_10141935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg\" alt=\"Cellists with the PlayaPops Symphony warm up before their debut performance at Burning Man this year (2014).\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellists with the PlayaPops Symphony warm up before their debut performance at Burning Man this year (2014). \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But by day, a group of classical musicians are fomenting a quiet rebellion. The soft notes of Bach’s Brandenburg Concerto No. 3 could be heard at concerts at Center Camp and the Temple, and during rehearsals in Silicon Village. \u003c/p>\n\u003cp>“We are going to do that ritardando there,” says Eric Yttri, standing before the group in leopard print leggings. A neuroscience researcher from DC, out here, Yttri goes by Doctor Fire Tuba – on account of the flame-throwing sousaphone he plays. He’s also the conductor of the first ever string orchestra at Burning Man.\u003c/p>\n\u003cp>“It’s not only a fun release for musicians who don’t get to play much, but it also showcases that Burning Man is more than a party,” he says. “This has a real soul and solace to it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They call themselves the Playa Pops Symphony: close to 50 amateur musicians, studio musicians, members of professional orchestras, and even a couple kids. About two dozen show up for the first rehearsal on Tuesday. Dr. FireTuba marveled that it was in tune — mostly.\u003c/p>\n\u003cp>“We were making music with a bunch of strangers who just randomly decided to go to a desert designed to kill you and play symphonic music,” he says. “I’m still on cloud nine and can’t believe it worked.” \u003c/p>\n\u003cp>The group has to overcome some serious distractions though. In the same neighborhood where the orchestra rehearses, gymnasts are practicing flips and splits in aerial silks, there’s a spanking workshop across the street, and a zip line right behind the cello section.\u003c/p>\n\u003cfigure id=\"attachment_10141940\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg\" alt=\"First chair Madelaine Ripley (black and white stripes) and other violinists with the PlayaPops Symphony prepare for their debut performance at Burning Man this year (2014\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">First chair Madelaine Ripley (black and white stripes) and other violinists with the PlayaPops Symphony prepare for their debut performance at Burning Man this year (2014). Credit: Jaki Levy \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I came out here to them practicing I went ‘Oh wow, this is the playground. Everyone’s playing and we all get to play together,’” says Noah Crowe, a writer from Ojai, Calif., dismounting the zip line as the orchestra begins to play Grieg’s morning mood. This is Crowe’s fourth year at Burning Man. \u003c/p>\n\u003cp>“My first year I came out here, it was ‘oonst oonst. Mmelemena melemena. Obla obla,’” Crowe says, doing a very convincing impression of the playa techno scene. “And this year, we actually have a diversity of music.”\u003c/p>\n\u003cp>I have my own theories about what allowed this to converge now. The size of the event is one – Burning Man attendance has grown significantly in recent years. Maybe now there’s a critical mass of classical musicians coming, enough to form an orchestra. Or, maybe it’s Maslow’s hierarchy of needs: now that folks have figured out how to survive in the desert and make it to the end of the week without starving, there’s more energy to make music and expand culture. \u003c/p>\n\u003cp>Crowe has a quick answer to the question, “Why now?”\u003c/p>\n\u003cp>“Because we’ve grown up. Because the culture is evolving. They say the most common misconception about Burning Man is that it’s a festival. When really the org [the Burning Man organization] considers it a city. So as a city, or as a society, we are evolving and enculturating ourselves into having a richer, diversity of experiences,” he says. “It’s gone through this evolution of adolescent angst and blowing stuff up, to teeny bopper trance rave, to crunk, to now.”\u003c/p>\n\u003cp>To Beethoven and Grieg. These were the picks of the Playa Pops founder, Laura Kaczmerak, a.k.a. Pigtails. Back home in Encinitas, she works as a commercial pilot and plays violin with the community symphony in Carlsbad. She says the start of the Burning Man orchestra was more of an accident.\u003c/p>\n\u003cfigure id=\"attachment_10141944\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg\" alt=\"Madelaine Ripley and other violinists with the PlayaPops Symphony, the first-ever string orchestra at Burning Man, warm up before their performance at Center Camp\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madelaine Ripley and other violinists with the PlayaPops Symphony, the first-ever string orchestra at Burning Man, warm up before their performance at Center Camp \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I see people with string instruments and other instruments out here, but they play alone,” she says. “I thought, you know, we need to come together.”\u003c/p>\n\u003cp>She sent an innocent email intended for one Burning Man staffer. It then got forwarded to the entire attendee list serve. \u003c/p>\n\u003cp>“Within 24 hours I had 200 hits in my email,” says Kaczmerak. “So I was thrust into this exciting adventure.”\u003c/p>\n\u003cp>And at the group’s debut performance, more than 200 people showed up to listen. Hundreds more came to subsequent concerts. They sat on the ground in the dust or got up and danced as they pleased. \u003c/p>\n\u003cp>It’s a far cry from the elite music halls of the default world, where audiences pay top dollar for tickets, dress in fancy clothes, sit politely and clap at the right time. \u003c/p>\n\u003cp>“Encore, encore, encore, encore,” one audience chants after the first few pieces. \u003c/p>\n\u003cp>“We’re only half way through the set,” Dr. FireTuba explains, sending the crowd into hysterics.\u003c/p>\n\u003cp>Here, the rules of classical music might as well have been burned down with the Man. The traditional emphasis on perfection is inappropriate out here. It’s not needed for music to touch an audience. Dr. FireTuba explains to the listeners that Beethoven was kind of a burner. \u003c/p>\n\u003cp>“He was a little crazy, he was a little drunk, he was a little rowdy,” says Dr. FireTuba. \u003c/p>\n\u003cp>Dr. FireTuba says he hopes a little education like this, and the unconventional context of Burning Man might attract some unforeseen fans to keep up with the genre when they get home. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It would be wonderful to attract not only people who love classical music,” he says, “but also get people who think classical music is something for the grandparents and really surprise them.”\u003c/p>\n\n",
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"excerpt": "A cadre of burners brought their violins, violas, and cellos to the desert this year to form the first-ever full string orchestra on the playa. KQED’s April Dembosky played violin with the group.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to April Dembosky’s piece about playing violin with an classical orchestra at Burning Man 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/09/2014-09-05c-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The well-established soundscape at Burning Man is an audio layer cake of dub step and techno. About 66,000 people gathered in the Nevada desert last week for the annual arts festival – and many of them spent their nights at post-apocalyptic raves, spinning fire hoola hoops, passing chapstick around the dance floor, all while swaying their hips in an inarticulate jive that vaguely mirrored the electronic beat spilling out of the speakers. \u003c/p>\n\u003cp>“Eat sleep rave repeat. Eat sleep rave repeat,” is the refrain of one song played all over the playa this year. It’s a stereotypical, yet quintessential, sentiment at Burning Man.\u003c/p>\n\u003cfigure id=\"attachment_10141935\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg\" alt=\"Cellists with the PlayaPops Symphony warm up before their debut performance at Burning Man this year (2014).\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-classical-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellists with the PlayaPops Symphony warm up before their debut performance at Burning Man this year (2014). \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But by day, a group of classical musicians are fomenting a quiet rebellion. The soft notes of Bach’s Brandenburg Concerto No. 3 could be heard at concerts at Center Camp and the Temple, and during rehearsals in Silicon Village. \u003c/p>\n\u003cp>“We are going to do that ritardando there,” says Eric Yttri, standing before the group in leopard print leggings. A neuroscience researcher from DC, out here, Yttri goes by Doctor Fire Tuba – on account of the flame-throwing sousaphone he plays. He’s also the conductor of the first ever string orchestra at Burning Man.\u003c/p>\n\u003cp>“It’s not only a fun release for musicians who don’t get to play much, but it also showcases that Burning Man is more than a party,” he says. “This has a real soul and solace to it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They call themselves the Playa Pops Symphony: close to 50 amateur musicians, studio musicians, members of professional orchestras, and even a couple kids. About two dozen show up for the first rehearsal on Tuesday. Dr. FireTuba marveled that it was in tune — mostly.\u003c/p>\n\u003cp>“We were making music with a bunch of strangers who just randomly decided to go to a desert designed to kill you and play symphonic music,” he says. “I’m still on cloud nine and can’t believe it worked.” \u003c/p>\n\u003cp>The group has to overcome some serious distractions though. In the same neighborhood where the orchestra rehearses, gymnasts are practicing flips and splits in aerial silks, there’s a spanking workshop across the street, and a zip line right behind the cello section.\u003c/p>\n\u003cfigure id=\"attachment_10141940\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg\" alt=\"First chair Madelaine Ripley (black and white stripes) and other violinists with the PlayaPops Symphony prepare for their debut performance at Burning Man this year (2014\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-4-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">First chair Madelaine Ripley (black and white stripes) and other violinists with the PlayaPops Symphony prepare for their debut performance at Burning Man this year (2014). Credit: Jaki Levy \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I came out here to them practicing I went ‘Oh wow, this is the playground. Everyone’s playing and we all get to play together,’” says Noah Crowe, a writer from Ojai, Calif., dismounting the zip line as the orchestra begins to play Grieg’s morning mood. This is Crowe’s fourth year at Burning Man. \u003c/p>\n\u003cp>“My first year I came out here, it was ‘oonst oonst. Mmelemena melemena. Obla obla,’” Crowe says, doing a very convincing impression of the playa techno scene. “And this year, we actually have a diversity of music.”\u003c/p>\n\u003cp>I have my own theories about what allowed this to converge now. The size of the event is one – Burning Man attendance has grown significantly in recent years. Maybe now there’s a critical mass of classical musicians coming, enough to form an orchestra. Or, maybe it’s Maslow’s hierarchy of needs: now that folks have figured out how to survive in the desert and make it to the end of the week without starving, there’s more energy to make music and expand culture. \u003c/p>\n\u003cp>Crowe has a quick answer to the question, “Why now?”\u003c/p>\n\u003cp>“Because we’ve grown up. Because the culture is evolving. They say the most common misconception about Burning Man is that it’s a festival. When really the org [the Burning Man organization] considers it a city. So as a city, or as a society, we are evolving and enculturating ourselves into having a richer, diversity of experiences,” he says. “It’s gone through this evolution of adolescent angst and blowing stuff up, to teeny bopper trance rave, to crunk, to now.”\u003c/p>\n\u003cp>To Beethoven and Grieg. These were the picks of the Playa Pops founder, Laura Kaczmerak, a.k.a. Pigtails. Back home in Encinitas, she works as a commercial pilot and plays violin with the community symphony in Carlsbad. She says the start of the Burning Man orchestra was more of an accident.\u003c/p>\n\u003cfigure id=\"attachment_10141944\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg\" alt=\"Madelaine Ripley and other violinists with the PlayaPops Symphony, the first-ever string orchestra at Burning Man, warm up before their performance at Center Camp\" width=\"800\" height=\"450\" class=\"size-full wp-image-10141944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BM-Classical-3-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Madelaine Ripley and other violinists with the PlayaPops Symphony, the first-ever string orchestra at Burning Man, warm up before their performance at Center Camp \u003ccite>(Jaki Levy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I see people with string instruments and other instruments out here, but they play alone,” she says. “I thought, you know, we need to come together.”\u003c/p>\n\u003cp>She sent an innocent email intended for one Burning Man staffer. It then got forwarded to the entire attendee list serve. \u003c/p>\n\u003cp>“Within 24 hours I had 200 hits in my email,” says Kaczmerak. “So I was thrust into this exciting adventure.”\u003c/p>\n\u003cp>And at the group’s debut performance, more than 200 people showed up to listen. Hundreds more came to subsequent concerts. They sat on the ground in the dust or got up and danced as they pleased. \u003c/p>\n\u003cp>It’s a far cry from the elite music halls of the default world, where audiences pay top dollar for tickets, dress in fancy clothes, sit politely and clap at the right time. \u003c/p>\n\u003cp>“Encore, encore, encore, encore,” one audience chants after the first few pieces. \u003c/p>\n\u003cp>“We’re only half way through the set,” Dr. FireTuba explains, sending the crowd into hysterics.\u003c/p>\n\u003cp>Here, the rules of classical music might as well have been burned down with the Man. The traditional emphasis on perfection is inappropriate out here. It’s not needed for music to touch an audience. Dr. FireTuba explains to the listeners that Beethoven was kind of a burner. \u003c/p>\n\u003cp>“He was a little crazy, he was a little drunk, he was a little rowdy,” says Dr. FireTuba. \u003c/p>\n\u003cp>Dr. FireTuba says he hopes a little education like this, and the unconventional context of Burning Man might attract some unforeseen fans to keep up with the genre when they get home. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be wonderful to attract not only people who love classical music,” he says, “but also get people who think classical music is something for the grandparents and really surprise them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"slug": "from-brazil-and-beyond-world-music-cascades-around-the-bay-area",
"title": "From Brazil and Beyond: a World of Music Around the Bay",
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"headTitle": "From Brazil and Beyond: a World of Music 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>For the better part of 100 years, the world has had a love affair with Brazilian music, starting with the samba, segueing to bossa nova, and pivoting to modern rhythms. But Brazilian music has always been its own mix of musical forms, with influences from Africa, the United States, Europe, and other regions. And it’s this beautiful cocktail of origins and influences (and potential influences) that is thankfully on display this fall in the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140908\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-400x246.jpg\" alt=\"Eliana Elias\" width=\"400\" height=\"246\" class=\"size-thumbnail wp-image-10140908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1.jpg 627w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eliane Elias\u003c/figcaption>\u003c/figure>\n\u003ch3>Eliana Elias\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"Elias tix link\" href=\"http://www.sfjazz.org/events/2014-15/sep11/opening-night\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>With her mesmerizing piano playing and sultry, jazzy voice, Eliane Elias is the epitome of Brazilian cool. At an early age, Elias worked with Brazilian master lyricist Vinicius de Moraes, co-writer of “The Girl From Ipanema,” and she has become a stalwart herself, comfortable singing in beautifully accented English or her native Portuguese. Now based in New York, Elias interprets American and Brazilian standards like few other singers of her generation.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140910\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-400x225.jpg\" alt=\"Kabul Dreams\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10140910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-300x169.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams\u003c/figcaption>\u003c/figure>\n\u003ch3>Kabul Dreams\u003c/h3>\n\u003ch5>Sept. 14\u003cbr>\nYoshi’s San Francisco, 1330 Fillmore Street, SF\u003cbr>\n\u003ca title=\"Kabul Dreams link\" href=\"http://www.yoshis.com/mobile/detail/id/4472\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In the song “Air,” when singer Sulyman Qardash croons, “Bombs and explosions are not scaring me. They are just playing with my heart, some times,” he’s referring to personal experience. Qardash’s rock ‘n’ roll group, Kabul Dreams, is based in Afghanistan, where it has faced death threats for its blend of American-influenced music that appeals to young minds. The Taliban is still a major presence in Afghanistan. In the United States, Qardash and Kabul Dreams, which bills itself as “Afghanistan’s first rock band,” can perform their songs as they intended: loudly and proudly, in both English and Dari.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140912\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Veloso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Veloso.jpg\" alt=\"Caetano Veloso\" width=\"300\" height=\"376\" class=\"size-full wp-image-10140912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Veloso.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Veloso-239x300.jpg 239w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caetano Veloso\u003c/figcaption>\u003c/figure>\n\u003ch3>Caetano Veloso\u003c/h3>\n\u003ch5>Sept. 19\u003cbr>\nParamount Theatre, 2025 Broadway Avenue, Oakland\u003cbr>\n\u003ca title=\"veloso link\" href=\"http://www.sfjazz.org/events/2014-15/sep19/caetano-veloso\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Caetano Veloso is the gold standard for Brazilian music – a guitar-playing singer and composer who in the late 1960s helped originate \u003cem>Tropicalia\u003c/em>, which fused African-influenced Brazilian music with rock music from the United States (and which, in turn, influenced American artists). These days, Veloso plays it slow and fast, his voice and his raw emotion keeping a steady cadence to songs that his longtime fans have memorized and that new listeners will swear are as vital as anything they’ve heard on \u003cem>American Idol\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toumani-Diabate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-400x281.jpg\" alt=\"Toumani Diabate and son\" width=\"400\" height=\"281\" class=\"size-thumbnail wp-image-10140914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-300x211.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate.jpg 620w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toumani Diabate and son\u003c/figcaption>\u003c/figure>\n\u003ch3>Toumani Diabate and Sidiki Diabate\u003c/h3>\n\u003ch5>Sept. 27-28\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF; Bing Concert Hall, Stanford University, Palo Alto\u003cbr>\n\u003ca href=\"http://www.toumaniandsidiki.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>Toumani Diabate’s name is synonymous with the kora, the 21-string, West African instrument that, under Diabate’s mastery, produces sounds that are entirely transportive and virtually hypnotic. Hailing from the West African country of Mali, the Grammy Award-winning Diabate has recorded with Icelandic marvel Bjork, American blues musician Taj Mahal, and Brazilian artists Arnaldo Antunes and Edgard Scandurra. In the Bay Area, he’ll share a stage with his son Sidiki, who represents the 72nd generation of kora player in the family’s lineage. Besides playing kora, Sidiki does hip-hop. Tradition and experimentation will take center stage at the Diabates’ Bay Area shows.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140916\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-400x267.jpg\" alt=\"Chuchito Valdes\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10140916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuchito Valdes\u003c/figcaption>\u003c/figure>\n\u003ch3>Chuchito Valdes\u003c/h3>\n\u003ch5>Sept. 28\u003cbr>\nYoshi’s Oakland, 510 Embarcadero West, Oakland\u003cbr>\n\u003ca title=\"valdes link\" href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4435\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Like the Diabate family of Mali, the Valdes family of Cuba is passing on its musically gifted genes from one generation to the next. Instead of the kora, it’s the piano that Chuchito Valdes has inherited a knack for. Like his father, Chucho, Chuchito can take a keyboard and turn it into a kaleidoscope of competing and complementary volleys that lift the audience up, down, and sideways. Chuchito’s late grandfather Bebo was thrilling audiences on the piano well into his eighties, and Chuco is still performing at a high level in his seventies. Chuchito is only in his late 40s, and in so many ways, he’s just getting started in his musical quest to extend the family dynasty.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140917\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Zakir_Hussain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-400x533.jpg\" alt=\"Zakir Hussain\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-10140917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain\u003c/figcaption>\u003c/figure>\n\u003ch3>Zakir Hussain\u003c/h3>\n\u003ch5>Oct. 9-12\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/oct9/zakir-hussain\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Tabla player Zakir Hussain was playing “world music” long before the term emerged in record stores in the early 1980s. Ten years earlier, he recorded with Mickey Hart, and then founded, with jazz guitarist John McLaughlin, the group Shakti. During his residency at the SFJAZZ Center, Hussain performs with Indian violinist Kumaresh Rajagopalan and Indian veena player Jayanthi Kumaresh (Oct. 9), jams with American jazz drummer Eric Harland and American saxophonist Charles Lloyd in a reunion of their group called Sangam (Oct. 10-11), then pays tribute to Latin jazz percussionist Armando Peraza (Oct. 12). For Hussain, there’s nothing unusual about that musical zig-zagging.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140918\" class=\"wp-caption alignleft\" style=\"max-width: 303px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg\" alt=\"Bassekou Kouyate\" width=\"303\" height=\"389\" class=\"size-full wp-image-10140918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/BassekouKouyate-233x300.jpg 233w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassekou Kouyate\u003c/figcaption>\u003c/figure>\n\u003ch3>Bassekou Kouyate and Krar Collective\u003c/h3>\n\u003ch5>Oct. 11\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca title=\"kouyate link\" href=\"http://calperformances.org/performances/2014-15/world-stage/afropop-spectacular-bassekou-kouyate-krar-collective.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Two sides of Africa – West and East – meet on the same stage in this “two for one” night that extinguishes musical borders. Bassekou Kouyate, from Mali, is a master of the ngoni, a small stringed instrument that’s the ancestor of the American banjo. The Krar Collective, from England via Ethiopia, features the stringed instrument called the krar and an ensemble that modernizes traditional Ethiopian scales. Audience members frequently get up to dance at these musicians’ concerts, following in the footsteps of the musicians themselves.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KarrinAllyson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KarrinAllyson-400x266.jpg\" alt=\"Jazz artist Karrin Allyson and the United States Air Force Band's Airmen of Note kick off the 2007 Jazz Heritage Series at Lisner Auditorium on the campus of George Washington University, September 7, 2007, in Washington, DC.\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10140920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-1440x960.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz artist Karrin Allyson and the United States Air Force Band’s Airmen of Note kick off the 2007 Jazz Heritage Series at Lisner Auditorium on the campus of George Washington University, September 7, 2007, in Washington, DC.\u003c/figcaption>\u003c/figure>\n\u003ch3>Karrin Allyson\u003c/h3>\n\u003ch5>Nov. 6\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"karrin allyson link\" href=\"http://www.sfjazz.org/events/2014-15/nov6/karrin-allyson\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Interpreting songs from Brazil and using perfect Portuguese, Karrin Allyson is that rare American singer who can inhabit another country’s songs and make them completely her own. On “O Barquinho (My Little Boat),” for instance, Allyson scats and shimmies and pays homage to love in the language of Brazil (“Dia de luz, festa de sol, e um barquinho a deslizar”). It sounds divine as Allison emotes and quivers her way through the highs and lows of romantic joy. That Allison will do that in the jazz center’s smaller venue is almost too good to be true.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140921\" class=\"wp-caption alignleft\" style=\"max-width: 334px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg\" alt=\"Lani Hall and Herb Alpert\" width=\"334\" height=\"310\" class=\"size-full wp-image-10140921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525-300x278.jpg 300w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lani Hall and Herb Alpert\u003c/figcaption>\u003c/figure>\n\u003ch3>Herb Alpert and Lani Hall\u003c/h3>\n\u003ch5>Nov. 7-8\u003cbr>\nMontalvo Arts Center, 15400 Montalvo Road, Saratoga\u003cbr>\n\u003ca title=\"alpert link\" href=\"http://montalvoarts.org/events/alpert_hall_2014a/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In the 1960s, as Herb Alpert was introducing the sound of his Tijuana Brass to American TV and radio audiences, Lani Hall was lead singer for Sergio Mendes and Brasil ’66, helping introduce Brazilian music to this country’s consciousness. Alpert signed Sergio Mendes and Brasil ’66 to his A&M Records in 1966, and married Hall in 1973. Alpert and Hall have been inseparable ever since – trumpeter and singer, husband and wife, yin and yang. Their fall tour isn’t just a nostalgia act; it’s a chance to reach both one step back and a couple steps forward in careers that have always wandered far afield.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140922\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-400x252.jpg\" alt=\"Vieux Farka Toure with Idan Raichel\" width=\"400\" height=\"252\" class=\"size-thumbnail wp-image-10140922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-300x189.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vieux Farka Toure with Idan Raichel\u003c/figcaption>\u003c/figure>\n\u003ch3>Vieux Farka Toure and Idan Raichel\u003c/h3>\n\u003ch5>Nov. 8\u003cbr>\nNourse Theater, 201 Hayes Street, SF\u003cbr>\n\u003ca title=\"toure-raichel link\" href=\"http://www.ciis.edu/Public_Programs/Public_Programs_Events/Toure-Raichel_Collective_FA14.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Theirs is a successful collaboration between stars from Mali and Israel. You can hear it on their debut album from 2012, \u003cem>The Tel Aviv Session\u003c/em>, where Idan Raichel’s piano playing shadows Vieux Farka Toure’s guitar work and is joined by a fusion of other voices and instrumentalists. Music doesn’t get much better than the duo’s stirring “Ane Nahatka,” on which Israeli singer Cabra Casay is especially noteworthy. In fact, Toure and Raichel perform as The Touré-Raichel Collective, acknowledging that it takes a village to make a great world-music band.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140925\" class=\"wp-caption alignleft\" style=\"max-width: 367px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Nascimento.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Nascimento.jpg\" alt=\"Milton Nascimento\" width=\"367\" height=\"246\" class=\"size-full wp-image-10140925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Nascimento.jpg 367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Nascimento-300x201.jpg 300w\" sizes=\"(max-width: 367px) 100vw, 367px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milton Nascimento\u003c/figcaption>\u003c/figure>\n\u003ch3>Milton Nascimento\u003c/h3>\n\u003ch5>Nov. 30\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"Nascimento link\" href=\"http://www.sfjazz.org/events/2014-15/nov30/milton-nascimento\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>\u003c/h5>\n\u003cp>Listen to jazz saxophonist Wayne Shorter’s 1974 album \u003cem>Native Dancer\u003c/em> and you hear Brazilian singer/guitarist/composer Milton Nascimento on many of the tracks, with a voice that reaches high octaves and really makes the album complete. Nascimento has gone on to perform and write for a Who’s Who of artists, including Paul Simon, who once said that Nascimento was “the major Brazilian composer post-Jobim-Gilberto.” Elevating Nascimento into the category of Antonio Carlos Jobim and Joao Gilberto is quite a statement, but Nascimento has a habit of astounding his fans. That’s what’s sure to happen at the SFJAZZ Center.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "For the better part of 100 years, the world has had a love affair with Brazilian music, starting with the samba, segueing to bossa nova, and pivoting to modern rhythms. But Brazilian music has always been its own mix of musical forms, with influences from Africa, the United States, Europe, and other regions. And it’s this beautiful cocktail of origins and influences (and potential influences) that is thankfully on display this fall in the Bay Area.",
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"title": "From Brazil and Beyond: a World of Music Around the Bay | KQED",
"description": "For the better part of 100 years, the world has had a love affair with Brazilian music, starting with the samba, segueing to bossa nova, and pivoting to modern rhythms. But Brazilian music has always been its own mix of musical forms, with influences from Africa, the United States, Europe, and other regions. And it’s this beautiful cocktail of origins and influences (and potential influences) that is thankfully on display this fall in the Bay Area.",
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"headline": "From Brazil and Beyond: a World of Music Around the Bay",
"datePublished": "2014-09-04T13:00:31-07:00",
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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>For the better part of 100 years, the world has had a love affair with Brazilian music, starting with the samba, segueing to bossa nova, and pivoting to modern rhythms. But Brazilian music has always been its own mix of musical forms, with influences from Africa, the United States, Europe, and other regions. And it’s this beautiful cocktail of origins and influences (and potential influences) that is thankfully on display this fall in the Bay Area.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140908\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-400x246.jpg\" alt=\"Eliana Elias\" width=\"400\" height=\"246\" class=\"size-thumbnail wp-image-10140908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-400x246.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/novo-album-do-trio-da-pianista-para-a-ecm-tem-joe-lovano-como-convidado_1.jpg 627w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eliane Elias\u003c/figcaption>\u003c/figure>\n\u003ch3>Eliana Elias\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"Elias tix link\" href=\"http://www.sfjazz.org/events/2014-15/sep11/opening-night\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>With her mesmerizing piano playing and sultry, jazzy voice, Eliane Elias is the epitome of Brazilian cool. At an early age, Elias worked with Brazilian master lyricist Vinicius de Moraes, co-writer of “The Girl From Ipanema,” and she has become a stalwart herself, comfortable singing in beautifully accented English or her native Portuguese. Now based in New York, Elias interprets American and Brazilian standards like few other singers of her generation.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140910\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-400x225.jpg\" alt=\"Kabul Dreams\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10140910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash-300x169.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KabulDreams-CREDIT-Numan-Qardash.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams\u003c/figcaption>\u003c/figure>\n\u003ch3>Kabul Dreams\u003c/h3>\n\u003ch5>Sept. 14\u003cbr>\nYoshi’s San Francisco, 1330 Fillmore Street, SF\u003cbr>\n\u003ca title=\"Kabul Dreams link\" href=\"http://www.yoshis.com/mobile/detail/id/4472\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In the song “Air,” when singer Sulyman Qardash croons, “Bombs and explosions are not scaring me. They are just playing with my heart, some times,” he’s referring to personal experience. Qardash’s rock ‘n’ roll group, Kabul Dreams, is based in Afghanistan, where it has faced death threats for its blend of American-influenced music that appeals to young minds. The Taliban is still a major presence in Afghanistan. In the United States, Qardash and Kabul Dreams, which bills itself as “Afghanistan’s first rock band,” can perform their songs as they intended: loudly and proudly, in both English and Dari.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140912\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Veloso.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Veloso.jpg\" alt=\"Caetano Veloso\" width=\"300\" height=\"376\" class=\"size-full wp-image-10140912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Veloso.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Veloso-239x300.jpg 239w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caetano Veloso\u003c/figcaption>\u003c/figure>\n\u003ch3>Caetano Veloso\u003c/h3>\n\u003ch5>Sept. 19\u003cbr>\nParamount Theatre, 2025 Broadway Avenue, Oakland\u003cbr>\n\u003ca title=\"veloso link\" href=\"http://www.sfjazz.org/events/2014-15/sep19/caetano-veloso\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Caetano Veloso is the gold standard for Brazilian music – a guitar-playing singer and composer who in the late 1960s helped originate \u003cem>Tropicalia\u003c/em>, which fused African-influenced Brazilian music with rock music from the United States (and which, in turn, influenced American artists). These days, Veloso plays it slow and fast, his voice and his raw emotion keeping a steady cadence to songs that his longtime fans have memorized and that new listeners will swear are as vital as anything they’ve heard on \u003cem>American Idol\u003c/em>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toumani-Diabate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-400x281.jpg\" alt=\"Toumani Diabate and son\" width=\"400\" height=\"281\" class=\"size-thumbnail wp-image-10140914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate-300x211.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toumani-Diabate.jpg 620w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toumani Diabate and son\u003c/figcaption>\u003c/figure>\n\u003ch3>Toumani Diabate and Sidiki Diabate\u003c/h3>\n\u003ch5>Sept. 27-28\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF; Bing Concert Hall, Stanford University, Palo Alto\u003cbr>\n\u003ca href=\"http://www.toumaniandsidiki.com/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/h5>\n\u003cp>Toumani Diabate’s name is synonymous with the kora, the 21-string, West African instrument that, under Diabate’s mastery, produces sounds that are entirely transportive and virtually hypnotic. Hailing from the West African country of Mali, the Grammy Award-winning Diabate has recorded with Icelandic marvel Bjork, American blues musician Taj Mahal, and Brazilian artists Arnaldo Antunes and Edgard Scandurra. In the Bay Area, he’ll share a stage with his son Sidiki, who represents the 72nd generation of kora player in the family’s lineage. Besides playing kora, Sidiki does hip-hop. Tradition and experimentation will take center stage at the Diabates’ Bay Area shows.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140916\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-400x267.jpg\" alt=\"Chuchito Valdes\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10140916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chuchito20Valdes20concert_3.20.2009203003-1.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuchito Valdes\u003c/figcaption>\u003c/figure>\n\u003ch3>Chuchito Valdes\u003c/h3>\n\u003ch5>Sept. 28\u003cbr>\nYoshi’s Oakland, 510 Embarcadero West, Oakland\u003cbr>\n\u003ca title=\"valdes link\" href=\"http://www.yoshis.com/oakland/jazzclub/artist/show/4435\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Like the Diabate family of Mali, the Valdes family of Cuba is passing on its musically gifted genes from one generation to the next. Instead of the kora, it’s the piano that Chuchito Valdes has inherited a knack for. Like his father, Chucho, Chuchito can take a keyboard and turn it into a kaleidoscope of competing and complementary volleys that lift the audience up, down, and sideways. Chuchito’s late grandfather Bebo was thrilling audiences on the piano well into his eighties, and Chuco is still performing at a high level in his seventies. Chuchito is only in his late 40s, and in so many ways, he’s just getting started in his musical quest to extend the family dynasty.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140917\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Zakir_Hussain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-400x533.jpg\" alt=\"Zakir Hussain\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-10140917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain-225x300.jpg 225w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Zakir_Hussain.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zakir Hussain\u003c/figcaption>\u003c/figure>\n\u003ch3>Zakir Hussain\u003c/h3>\n\u003ch5>Oct. 9-12\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/events/2014-15/oct9/zakir-hussain\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Tabla player Zakir Hussain was playing “world music” long before the term emerged in record stores in the early 1980s. Ten years earlier, he recorded with Mickey Hart, and then founded, with jazz guitarist John McLaughlin, the group Shakti. During his residency at the SFJAZZ Center, Hussain performs with Indian violinist Kumaresh Rajagopalan and Indian veena player Jayanthi Kumaresh (Oct. 9), jams with American jazz drummer Eric Harland and American saxophonist Charles Lloyd in a reunion of their group called Sangam (Oct. 10-11), then pays tribute to Latin jazz percussionist Armando Peraza (Oct. 12). For Hussain, there’s nothing unusual about that musical zig-zagging.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140918\" class=\"wp-caption alignleft\" style=\"max-width: 303px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg\" alt=\"Bassekou Kouyate\" width=\"303\" height=\"389\" class=\"size-full wp-image-10140918\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/BassekouKouyate.jpg 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/BassekouKouyate-233x300.jpg 233w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassekou Kouyate\u003c/figcaption>\u003c/figure>\n\u003ch3>Bassekou Kouyate and Krar Collective\u003c/h3>\n\u003ch5>Oct. 11\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca title=\"kouyate link\" href=\"http://calperformances.org/performances/2014-15/world-stage/afropop-spectacular-bassekou-kouyate-krar-collective.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Two sides of Africa – West and East – meet on the same stage in this “two for one” night that extinguishes musical borders. Bassekou Kouyate, from Mali, is a master of the ngoni, a small stringed instrument that’s the ancestor of the American banjo. The Krar Collective, from England via Ethiopia, features the stringed instrument called the krar and an ensemble that modernizes traditional Ethiopian scales. Audience members frequently get up to dance at these musicians’ concerts, following in the footsteps of the musicians themselves.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KarrinAllyson.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/KarrinAllyson-400x266.jpg\" alt=\"Jazz artist Karrin Allyson and the United States Air Force Band's Airmen of Note kick off the 2007 Jazz Heritage Series at Lisner Auditorium on the campus of George Washington University, September 7, 2007, in Washington, DC.\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10140920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/KarrinAllyson-1440x960.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz artist Karrin Allyson and the United States Air Force Band’s Airmen of Note kick off the 2007 Jazz Heritage Series at Lisner Auditorium on the campus of George Washington University, September 7, 2007, in Washington, DC.\u003c/figcaption>\u003c/figure>\n\u003ch3>Karrin Allyson\u003c/h3>\n\u003ch5>Nov. 6\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"karrin allyson link\" href=\"http://www.sfjazz.org/events/2014-15/nov6/karrin-allyson\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Interpreting songs from Brazil and using perfect Portuguese, Karrin Allyson is that rare American singer who can inhabit another country’s songs and make them completely her own. On “O Barquinho (My Little Boat),” for instance, Allyson scats and shimmies and pays homage to love in the language of Brazil (“Dia de luz, festa de sol, e um barquinho a deslizar”). It sounds divine as Allison emotes and quivers her way through the highs and lows of romantic joy. That Allison will do that in the jazz center’s smaller venue is almost too good to be true.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140921\" class=\"wp-caption alignleft\" style=\"max-width: 334px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg\" alt=\"Lani Hall and Herb Alpert\" width=\"334\" height=\"310\" class=\"size-full wp-image-10140921\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/LANI_HERB-MUSIC-OR-PHIL_MG_82373525-300x278.jpg 300w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lani Hall and Herb Alpert\u003c/figcaption>\u003c/figure>\n\u003ch3>Herb Alpert and Lani Hall\u003c/h3>\n\u003ch5>Nov. 7-8\u003cbr>\nMontalvo Arts Center, 15400 Montalvo Road, Saratoga\u003cbr>\n\u003ca title=\"alpert link\" href=\"http://montalvoarts.org/events/alpert_hall_2014a/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In the 1960s, as Herb Alpert was introducing the sound of his Tijuana Brass to American TV and radio audiences, Lani Hall was lead singer for Sergio Mendes and Brasil ’66, helping introduce Brazilian music to this country’s consciousness. Alpert signed Sergio Mendes and Brasil ’66 to his A&M Records in 1966, and married Hall in 1973. Alpert and Hall have been inseparable ever since – trumpeter and singer, husband and wife, yin and yang. Their fall tour isn’t just a nostalgia act; it’s a chance to reach both one step back and a couple steps forward in careers that have always wandered far afield.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140922\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-400x252.jpg\" alt=\"Vieux Farka Toure with Idan Raichel\" width=\"400\" height=\"252\" class=\"size-thumbnail wp-image-10140922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded-300x189.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Toure-Raichel_FA14_expanded.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vieux Farka Toure with Idan Raichel\u003c/figcaption>\u003c/figure>\n\u003ch3>Vieux Farka Toure and Idan Raichel\u003c/h3>\n\u003ch5>Nov. 8\u003cbr>\nNourse Theater, 201 Hayes Street, SF\u003cbr>\n\u003ca title=\"toure-raichel link\" href=\"http://www.ciis.edu/Public_Programs/Public_Programs_Events/Toure-Raichel_Collective_FA14.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Theirs is a successful collaboration between stars from Mali and Israel. You can hear it on their debut album from 2012, \u003cem>The Tel Aviv Session\u003c/em>, where Idan Raichel’s piano playing shadows Vieux Farka Toure’s guitar work and is joined by a fusion of other voices and instrumentalists. Music doesn’t get much better than the duo’s stirring “Ane Nahatka,” on which Israeli singer Cabra Casay is especially noteworthy. In fact, Toure and Raichel perform as The Touré-Raichel Collective, acknowledging that it takes a village to make a great world-music band.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140925\" class=\"wp-caption alignleft\" style=\"max-width: 367px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Nascimento.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Nascimento.jpg\" alt=\"Milton Nascimento\" width=\"367\" height=\"246\" class=\"size-full wp-image-10140925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Nascimento.jpg 367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Nascimento-300x201.jpg 300w\" sizes=\"(max-width: 367px) 100vw, 367px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milton Nascimento\u003c/figcaption>\u003c/figure>\n\u003ch3>Milton Nascimento\u003c/h3>\n\u003ch5>Nov. 30\u003cbr>\nSFJAZZ Center, 201 Franklin Street, SF\u003cbr>\n\u003ca title=\"Nascimento link\" href=\"http://www.sfjazz.org/events/2014-15/nov30/milton-nascimento\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>\u003c/h5>\n\u003cp>Listen to jazz saxophonist Wayne Shorter’s 1974 album \u003cem>Native Dancer\u003c/em> and you hear Brazilian singer/guitarist/composer Milton Nascimento on many of the tracks, with a voice that reaches high octaves and really makes the album complete. Nascimento has gone on to perform and write for a Who’s Who of artists, including Paul Simon, who once said that Nascimento was “the major Brazilian composer post-Jobim-Gilberto.” Elevating Nascimento into the category of Antonio Carlos Jobim and Joao Gilberto is quite a statement, but Nascimento has a habit of astounding his fans. That’s what’s sure to happen at the SFJAZZ Center.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Beck\u003c/strong> has been announced as the inaugural performer in the newly remodeled \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">SF Masonic\u003c/a> on Nob Hill for Sept. 19, and it’s a sure sellout. We’ve got you covered: \u003ca href=\"http://concerts.livenation.com/event/1C004D0FEF6B8D83\" target=\"_blank\" rel=\"noopener\">ticket presales for fans are live today\u003c/a>, and \u003cstrong>the presale code is MORNING\u003c/strong>. Those who download Live Nation’s app can get tickets starting Thursday, Sept. 4, at 10am. The general public onsale isn’t until Friday, Sept. 5, at 10am.\u003c/p>\n\u003cp>\u003cstrong>Bob Dylan\u003c/strong> is set to play a three-night run at Oakland’s Paramount Theater Oct. 28-30, and \u003ca href=\"http://www.ticketmaster.com/event/1C004CEEE872810C/?brand=paramounttheatre\" target=\"_blank\" rel=\"noopener\">tickets go on sale this Friday, Sept. 5\u003c/a>, at 10am. Chances are it’ll sell out swiftly. (The last time Dylan played the relatively small theater, in 2005 with Merle Haggard, tickets went fast.) No special presale codes seem to be floating around, so in the great egalitarian spirit of his \u003ca href=\"http://www.jambase.com/Articles/23873/Bob-Dylan-To-Play-The-Warfield-in-San-Francisco\" target=\"_blank\" rel=\"noopener\">no-advance-tickets, cash-only show \u003c/a>at the Warfield in 2010, everyone’s on a level playing field to get a seat for what’s sure to be a memorable run of shows.\u003c/p>\n\u003cp>And here’s a unique one: \u003cstrong>NASA’s Ames Research Center\u003c/strong> at Moffett Field in Mountain View is the Wonka Chocolate Factory of science geeks—it hasn’t opened its doors to the public since 1997. That changes on Oct. 19 when NASA holds an open house, including a two-mile walking tour around the inner workings of the facility. Tickets are free, but need to be reserved. \u003ca href=\"https://www.eventbrite.com/e/nasa-ames-75th-anniversary-open-house-tickets-12709172477\" target=\"_blank\" rel=\"noopener\">And they’re available today right here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Beck\u003c/strong> has been announced as the inaugural performer in the newly remodeled \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">SF Masonic\u003c/a> on Nob Hill for Sept. 19, and it’s a sure sellout. We’ve got you covered: \u003ca href=\"http://concerts.livenation.com/event/1C004D0FEF6B8D83\" target=\"_blank\" rel=\"noopener\">ticket presales for fans are live today\u003c/a>, and \u003cstrong>the presale code is MORNING\u003c/strong>. Those who download Live Nation’s app can get tickets starting Thursday, Sept. 4, at 10am. The general public onsale isn’t until Friday, Sept. 5, at 10am.\u003c/p>\n\u003cp>\u003cstrong>Bob Dylan\u003c/strong> is set to play a three-night run at Oakland’s Paramount Theater Oct. 28-30, and \u003ca href=\"http://www.ticketmaster.com/event/1C004CEEE872810C/?brand=paramounttheatre\" target=\"_blank\" rel=\"noopener\">tickets go on sale this Friday, Sept. 5\u003c/a>, at 10am. Chances are it’ll sell out swiftly. (The last time Dylan played the relatively small theater, in 2005 with Merle Haggard, tickets went fast.) No special presale codes seem to be floating around, so in the great egalitarian spirit of his \u003ca href=\"http://www.jambase.com/Articles/23873/Bob-Dylan-To-Play-The-Warfield-in-San-Francisco\" target=\"_blank\" rel=\"noopener\">no-advance-tickets, cash-only show \u003c/a>at the Warfield in 2010, everyone’s on a level playing field to get a seat for what’s sure to be a memorable run of shows.\u003c/p>\n\u003cp>And here’s a unique one: \u003cstrong>NASA’s Ames Research Center\u003c/strong> at Moffett Field in Mountain View is the Wonka Chocolate Factory of science geeks—it hasn’t opened its doors to the public since 1997. That changes on Oct. 19 when NASA holds an open house, including a two-mile walking tour around the inner workings of the facility. Tickets are free, but need to be reserved. \u003ca href=\"https://www.eventbrite.com/e/nasa-ames-75th-anniversary-open-house-tickets-12709172477\" target=\"_blank\" rel=\"noopener\">And they’re available today right here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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