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"content": "\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13934544']Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>[aside postID='arts_13955606']On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An independent artist in the middle of a breakthrough might be tempted to contort herself into an industry-approved mold. But \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a> isn’t just any artist.\u003c/p>\n\u003cp>The San Francisco singer, producer and bandleader has spent the past few years building her national profile on the festival circuit (\u003ca href=\"https://www.sfchronicle.com/entertainment/article/obama-playlist-la-dona-sf-18253402.php\">even Barack Obama is a fan\u003c/a>). But even as her reach grows, she’s doubled down on her commitment to her working-class, immigrant San Francisco community and liberation politics. When her management team didn’t see her vision, she broke up with them and placed a bet on herself. And while the majority of the music industry stays silent on Gaza, La Doña has spent the past year calling for a ceasefire in the streets and on stage.\u003c/p>\n\u003cp>La Doña’s latest album, \u003ci>Los Altos de la Soledad\u003c/i> (out Sept. 6 via Empire, with support from the California Creative Corps Fellowship), arrives as her most ambitious work yet. The exquisitely layered, deeply collaborative project features contributions from La Doña’s music students, a 23-person orchestra and acclaimed musicians like Berkeley jazz flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> and New York Dominican guitarist \u003ca href=\"https://www.youtube.com/watch?v=tajoGudOj70&list=RDEMQOwtQu8ayUXik-X_I2CvLA&start_radio=1\">Yasser Tejeda\u003c/a>, among others. It digs deep into musical styles La Doña has spent a lifetime studying — boleros, corridos, cumbia, reggaeton — and pulls them into a snapshot of love and life during tumultuous times of war, class struggle and gentrification.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“I have to follow the music,” says the artist, whose real name is Cecilia Peña-Govea. “I can’t really follow the market or follow an audience or follow what’s expected of me. I have to just follow the creative ideas that come to me, which is really liberating, but also really scary because it’s all on me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The title track of the album, a lush, symphonic bolero assisted by \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra\u003c/a>, is a thesis statement on how La Doña leaned into solitude during a time when her personal and professional worlds turned upside down. On top of becoming her own manager, she spent last year navigating the end of a long-term romantic relationship. And for the first time in her life, the youngest child of activists and musicians — who’s accustomed to the happy chaos of collaborators and friends swirling around her — decided to sit with herself and face fear and discomfort head on.\u003c/p>\n\u003cfigure id=\"attachment_13963791\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">La Doña leaned into solitude while working on ‘Los Altos de la Soledad.’ \u003ccite>(María del Rio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña emerged with a profound belief that in order to grow outwardly, she needed to deepen her roots. Those include a political tradition going back more than half a century in San Francisco — of solidarity with Palestinians fighting for rights and self-determination in Gaza and the West Bank.\u003c/p>\n\u003cp>“The struggle for Palestinian sovereignty and liberation has been part of this transnational struggle for the liberation of all Third World people,” says La Doña, noting that she sees it as parallel to the Indigenous Land Back movement.\u003c/p>\n\u003cp>A particularly fiery moment of \u003ci>Los Altos de la Soledad\u003c/i> arrives on “Corrido Palestina.” After protest chants blare in the interlude “El Mundo Se Levanta” (“The World Rises Up”), La Doña’s vocals swell with determination as she calls out the Biden administration for sending arms to Israel. “No se puede silenciar nuestros gritos y canciones” (“They can’t silence our cries and songs”), she affirms as the horn section resolutely marches forward.\u003c/p>\n\u003cfigure id=\"attachment_13900317\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900317\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg\" alt=\"A Mexican American woman in a red dress and black eyeline holds a trumpet among tropical plants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet being this outspoken about a war supported by the majority of the U.S. political establishment has its risks, as La Doña experienced firsthand during her summer tour, when a small group of audience members took offense to her activist stance on the stage. “Everybody wants to see an artist because … they’re inviting you into their lives, into their creative process, into their creative output,” she says. “And then all of a sudden they say something that you don’t like, and you feel like you have license to contact promoters, contact agents, contact funders, arts institutions and try and silence me or tell me to apologize for saying ‘free Palestine.’”\u003c/p>\n\u003cp>Instead of shying away from the topic on \u003ci>Los Altos de la Soledad\u003c/i>, La Doña decided to give the people protest anthems. In addition to “Corrido Palestina,” the dark reggaeton track “Córrales” — which takes aim at corrupt police — features a chilling spoken word section by San Francisco Poet Laureate Tongo Eisen-Martin that follows the money from violent oppression at home to U.S.-backed conflicts abroad: “If you turn down the television low enough / You can hear San Francisco begging for more war profiteering,” he deadpans.\u003c/p>\n\u003cp>For La Doña’s collaborators, her willingness to take a stand connects them to a larger purpose. “I think she’s always had a stance that the role of the artist is to say your truth, to stand up for what’s right, to use music — or whatever art you’re doing — for the greater good,” says Naomi Garcia Pasmanick, the saxophonist and backing vocalist in La Doña’s band who also has directed many of her music videos.\u003c/p>\n\u003cp>https://youtu.be/ToxfEeYweW8?si=2mcHR7jLNMJdt7kQ\u003c/p>\n\u003cp>With the heartsick banda track “Confesiones,” reggaeton post-breakup party anthem “Mejor Que Matarte” and symphonic bolero “El Regreso” as lead singles, \u003ci>Los Altos de la Soledad\u003c/i> has serious range, and pushed La Doña to level up her technical abilities. In the studio, she brought together her band, the featured artists and 23 Awesöme Orchestra musicians, plus arrangers and guest producers. She recorded poetry, protests and interviews, and developed lyrical concepts, or “story maps,” with her music students in San Francisco and Oakland classrooms.\u003c/p>\n\u003cp>David Möschler, Awesöme Orchestra’s conductor and founding artistic director, was impressed with how she got so many collaborators on board with her vision. “There’s a lot of intention behind all that detail, and a lot of history and a lot of respect for what came before,” he says, “and then wanting to … lift up her whole community, and everybody in her band and that she works with.”\u003c/p>\n\u003cp>https://youtu.be/h9obw7TiZwY?si=1gy7ecRE41E_k4tL\u003c/p>\n\u003cp>That sense of upliftment comes through most clearly in a pair of tracks that connect the album’s A and B sides: “La Ida de Luisito” and “El Regreso.” The first song features Luis, an 18-year-old music student of La Doña’s, in his own words over a strumming guitar. As he reminisces about his grandfather playing the instrument every morning in his hammock in Guatemala, he also reveals that he’s in the U.S. without his family, unable to return home because of safety concerns. With cinematic strings and vivid lyrics that romanticize the Guatemalan landscape (“El cielo rompe en mil pedazos con la aurora” — “the sky breaks into a thousand pieces with the sunrise”), “El Regreso” beautifully captures a feeling of uprootedness and alienation immigrants and refugees know all too well, and links Luis’ struggle to those fleeing violence in places like Honduras and the Philippines.\u003c/p>\n\u003cp>La Doña concerns herself with “undertold stories,” and this grassroots way of songwriting with community input has been deeply gratifying. Her artistic ambition is steadily expanding, as is her audience, but it’s that bottom-up approach of listening to people, and that deference to tradition in pursuit of a new sound, that has made her music so singularly soulful.\u003c/p>\n\u003cp>As she puts it, “As my project grows, it’s my intention that the roots grow deeper as well.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña celebrates Los Altos de la Soledad with an album release party at Cafe Du Nord in San Francisco on Sept. 30. \u003ca href=\"https://cafedunord.com/tm-event/la-dona-album-release-party/\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An independent artist in the middle of a breakthrough might be tempted to contort herself into an industry-approved mold. But \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a> isn’t just any artist.\u003c/p>\n\u003cp>The San Francisco singer, producer and bandleader has spent the past few years building her national profile on the festival circuit (\u003ca href=\"https://www.sfchronicle.com/entertainment/article/obama-playlist-la-dona-sf-18253402.php\">even Barack Obama is a fan\u003c/a>). But even as her reach grows, she’s doubled down on her commitment to her working-class, immigrant San Francisco community and liberation politics. When her management team didn’t see her vision, she broke up with them and placed a bet on herself. And while the majority of the music industry stays silent on Gaza, La Doña has spent the past year calling for a ceasefire in the streets and on stage.\u003c/p>\n\u003cp>La Doña’s latest album, \u003ci>Los Altos de la Soledad\u003c/i> (out Sept. 6 via Empire, with support from the California Creative Corps Fellowship), arrives as her most ambitious work yet. The exquisitely layered, deeply collaborative project features contributions from La Doña’s music students, a 23-person orchestra and acclaimed musicians like Berkeley jazz flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a> and New York Dominican guitarist \u003ca href=\"https://www.youtube.com/watch?v=tajoGudOj70&list=RDEMQOwtQu8ayUXik-X_I2CvLA&start_radio=1\">Yasser Tejeda\u003c/a>, among others. It digs deep into musical styles La Doña has spent a lifetime studying — boleros, corridos, cumbia, reggaeton — and pulls them into a snapshot of love and life during tumultuous times of war, class struggle and gentrification.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“I have to follow the music,” says the artist, whose real name is Cecilia Peña-Govea. “I can’t really follow the market or follow an audience or follow what’s expected of me. I have to just follow the creative ideas that come to me, which is really liberating, but also really scary because it’s all on me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The title track of the album, a lush, symphonic bolero assisted by \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra\u003c/a>, is a thesis statement on how La Doña leaned into solitude during a time when her personal and professional worlds turned upside down. On top of becoming her own manager, she spent last year navigating the end of a long-term romantic relationship. And for the first time in her life, the youngest child of activists and musicians — who’s accustomed to the happy chaos of collaborators and friends swirling around her — decided to sit with herself and face fear and discomfort head on.\u003c/p>\n\u003cfigure id=\"attachment_13963791\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/LAD-001-20240205LaDonaTender6080-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">La Doña leaned into solitude while working on ‘Los Altos de la Soledad.’ \u003ccite>(María del Rio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Doña emerged with a profound belief that in order to grow outwardly, she needed to deepen her roots. Those include a political tradition going back more than half a century in San Francisco — of solidarity with Palestinians fighting for rights and self-determination in Gaza and the West Bank.\u003c/p>\n\u003cp>“The struggle for Palestinian sovereignty and liberation has been part of this transnational struggle for the liberation of all Third World people,” says La Doña, noting that she sees it as parallel to the Indigenous Land Back movement.\u003c/p>\n\u003cp>A particularly fiery moment of \u003ci>Los Altos de la Soledad\u003c/i> arrives on “Corrido Palestina.” After protest chants blare in the interlude “El Mundo Se Levanta” (“The World Rises Up”), La Doña’s vocals swell with determination as she calls out the Biden administration for sending arms to Israel. “No se puede silenciar nuestros gritos y canciones” (“They can’t silence our cries and songs”), she affirms as the horn section resolutely marches forward.\u003c/p>\n\u003cfigure id=\"attachment_13900317\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900317\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg\" alt=\"A Mexican American woman in a red dress and black eyeline holds a trumpet among tropical plants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/001_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet being this outspoken about a war supported by the majority of the U.S. political establishment has its risks, as La Doña experienced firsthand during her summer tour, when a small group of audience members took offense to her activist stance on the stage. “Everybody wants to see an artist because … they’re inviting you into their lives, into their creative process, into their creative output,” she says. “And then all of a sudden they say something that you don’t like, and you feel like you have license to contact promoters, contact agents, contact funders, arts institutions and try and silence me or tell me to apologize for saying ‘free Palestine.’”\u003c/p>\n\u003cp>Instead of shying away from the topic on \u003ci>Los Altos de la Soledad\u003c/i>, La Doña decided to give the people protest anthems. In addition to “Corrido Palestina,” the dark reggaeton track “Córrales” — which takes aim at corrupt police — features a chilling spoken word section by San Francisco Poet Laureate Tongo Eisen-Martin that follows the money from violent oppression at home to U.S.-backed conflicts abroad: “If you turn down the television low enough / You can hear San Francisco begging for more war profiteering,” he deadpans.\u003c/p>\n\u003cp>For La Doña’s collaborators, her willingness to take a stand connects them to a larger purpose. “I think she’s always had a stance that the role of the artist is to say your truth, to stand up for what’s right, to use music — or whatever art you’re doing — for the greater good,” says Naomi Garcia Pasmanick, the saxophonist and backing vocalist in La Doña’s band who also has directed many of her music videos.\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/ToxfEeYweW8'\n title='//www.youtube.com/embed/ToxfEeYweW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With the heartsick banda track “Confesiones,” reggaeton post-breakup party anthem “Mejor Que Matarte” and symphonic bolero “El Regreso” as lead singles, \u003ci>Los Altos de la Soledad\u003c/i> has serious range, and pushed La Doña to level up her technical abilities. In the studio, she brought together her band, the featured artists and 23 Awesöme Orchestra musicians, plus arrangers and guest producers. She recorded poetry, protests and interviews, and developed lyrical concepts, or “story maps,” with her music students in San Francisco and Oakland classrooms.\u003c/p>\n\u003cp>David Möschler, Awesöme Orchestra’s conductor and founding artistic director, was impressed with how she got so many collaborators on board with her vision. “There’s a lot of intention behind all that detail, and a lot of history and a lot of respect for what came before,” he says, “and then wanting to … lift up her whole community, and everybody in her band and that she works with.”\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/h9obw7TiZwY'\n title='//www.youtube.com/embed/h9obw7TiZwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That sense of upliftment comes through most clearly in a pair of tracks that connect the album’s A and B sides: “La Ida de Luisito” and “El Regreso.” The first song features Luis, an 18-year-old music student of La Doña’s, in his own words over a strumming guitar. As he reminisces about his grandfather playing the instrument every morning in his hammock in Guatemala, he also reveals that he’s in the U.S. without his family, unable to return home because of safety concerns. With cinematic strings and vivid lyrics that romanticize the Guatemalan landscape (“El cielo rompe en mil pedazos con la aurora” — “the sky breaks into a thousand pieces with the sunrise”), “El Regreso” beautifully captures a feeling of uprootedness and alienation immigrants and refugees know all too well, and links Luis’ struggle to those fleeing violence in places like Honduras and the Philippines.\u003c/p>\n\u003cp>La Doña concerns herself with “undertold stories,” and this grassroots way of songwriting with community input has been deeply gratifying. Her artistic ambition is steadily expanding, as is her audience, but it’s that bottom-up approach of listening to people, and that deference to tradition in pursuit of a new sound, that has made her music so singularly soulful.\u003c/p>\n\u003cp>As she puts it, “As my project grows, it’s my intention that the roots grow deeper as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña celebrates Los Altos de la Soledad with an album release party at Cafe Du Nord in San Francisco on Sept. 30. \u003ca href=\"https://cafedunord.com/tm-event/la-dona-album-release-party/\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "your-2024-oakland-pride-party-guide",
"title": "Your 2024 Oakland Pride Party Guide",
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"headTitle": "Your 2024 Oakland Pride Party Guide | KQED",
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"content": "\u003cp>The Bay Area is lucky — we start our summer with San Francisco Pride and close it with \u003ca href=\"https://www.oaklandpride.org/\">Oakland Pride\u003c/a>. This Sunday, Sept. 8, the Town hosts its official LGBTQ+ celebration with a parade and downtown block party headlined by Da Brat. With additional performances by Mexican singer Wendy Guevara and East Bay hip-hop originals \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">the Conscious Daughters\u003c/a>, this is one not to miss.\u003c/p>\n\u003cp>Oakland’s many queer bars and clubs will be lighting up with dance parties and drag shows of their own all throughout the weekend. We’ve rounded up a selection of parties for people of different musical tastes and interests, but if these don’t strike your fancy, check out your favorite venue’s Instagram for their full lineup of events.\u003c/p>\n\u003cp>https://youtu.be/2RdP66KicNc?si=2sa-saNieWufrcFz\u003c/p>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/gorgeous-feat-tygapaw-jasmine-the-new-parish-tickets/13869073\">Gorgeous Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 6, 10 p.m.-2 a.m.\u003cbr>\nThe New Parish\u003cbr>\n$20–$30\u003c/i>\u003c/p>\n\u003cp>When Tygapaw is in the mix, hours evaporate because every cell of your body is dancing its hardest. The Brooklyn-based, Jamaica-born techno DJ headlines Gorgeous, a massive party taking over two rooms at the New Parish. They’ll be joined by Jasmine Infiniti, mother of the trans DJ collective New World Dysorder, and a crew of the Bay’s finest underground selectors: Adonai, Black, Brown Angel, KKingboo, De Alma, Tastemaker, Blossom, Discnogirl and Yuca Frita.\u003c/p>\n\u003cfigure id=\"attachment_13899489\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Militia Scunt sits on a throne during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/we-run-this-tickets-976818108257\">We Run This\u003c/a>\u003c/h2>\n\u003cp>\u003ci>15th & Franklin St.\u003c/i>\u003cbr>\nSept. 7, 5–10 p.m.\u003cbr>\nSliding scale, no one turned away for lack of funds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oaklash takes chances on experimental artists and puts disability and racial justice at the forefront, which is how it’s grown to be one of the Bay’s most forward-thinking platforms for drag. Along with local businesses, Oaklash is hosting a community block party outside of queer bar Nectar Social Club, with a drag show hosted by Militia Scunt and a live set by TECA, a duo that raps and plays live percussion over global bass, reggaeton and jersey club beats. Lady Ryan, La Femme Papi, Subeaux, FloridaWTR and Oaklash co-founder Mama Celeste will be in the mix as well. [aside postid='arts_13962948']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/oakland-pride-events-take-the-town-free-pride-weekend-bar-crawl-tickets-1005961787787\">Take the Town Bar Crawl\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Town Bar and Lounge\u003cbr>\nSept. 7, 4:45–9:30 p.m.\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>If you’re looking to meet cuties or get to know Oakland’s queer bar scene, Take the Town Bar Crawl is a good place to start. It kicks off at swanky cocktail lounge Town Bar & Lounge, which has a packed schedule of DJs spinning pop, disco and hip-hop all throughout Pride weekend. The crawl will make its way downtown to Latinx bar Que Rico, big nightclub Fluid510 and Old Oakland destination Summer Bar & Lounge. Patrons are encouraged to stick around for the afterparty.\u003c/p>\n\u003cp>https://youtu.be/VXu0Ds6LGvw?si=_NhIT4hquQhY0pmU\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/gay-areaa-oakland-pride-tickets-976451852777?aff=erelexpmlt\">Gay Areaaa! Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Zanzi\u003cbr>\nSept. 7, 9 p.m.–2 a.m.\u003cbr>\n$33\u003c/i>\u003c/p>\n\u003cp>Three fire parties — the Sweet Spot, El Afters and Vamp — have teamed up for an Oakland Pride mega celebration at Zanzi. Expect live sets from rappers Alicia Goku and Bobby Sanchez, plus a special performance from vocalist and ballroom star Sir Joq. Go-go dancers of different gender expressions will shake it while DJs Dreams, De Alma, Lady Ryan and Align spin their favorite booty-popping jams.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/oakland-pride-after-dark-oakland-pride-after-party-and-street-party-tickets-967560749247?aff=ebdssbdestsearch\">Que Rico’s Pride After Dark\u003c/a>\u003c/h2>\n\u003cp>\u003ci>15th & Franklin St.\u003cbr>\nSept. 8, 6–10 p.m.\u003cbr>\n$10+\u003c/i>\u003c/p>\n\u003cp>Que Rico curated Oakland Pride’s Latin stage, and the bar has a packed weekend of celebrations. Its Pride After Dark party takes over the entire block for a Selena tribute drag show, Sexy Papi go-go dancers and DJs.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.instagram.com/fluid510/p/C_MLWgjStCj/\">Pride: A Special Day Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fluid510\u003cbr>\nSept. 8, 3 p.m. on\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The drag troupe Filipinx takes over Fluid510 for a free day party. Hosted by Nia Politan and Phoebe Cakes, it features lip syncs from Sassi Fran, Tsunomi Punoni, Tila Pia and Nutasha, plus go-go dancers.\u003c/p>\n\u003cfigure id=\"attachment_13963771\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963771\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1639x2048.jpeg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lady Ryan spins at her party, The Sweet Spot, on July 7, 2024 at Art Haus in Oakland. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1327221\">Soulovely\u003c/a>\u003c/h2>\n\u003cp>\u003ci>7th West\u003cbr>\nSept. 9, 3:30 p.m. on\u003cbr>\n$40\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oakland to All throws balls where Oakland’s most fierce dancers come to vogue. They’re taking over the Oakland Pride edition of Soulovely, a dance party that puts queer and trans people of color at the center. This month’s theme? Queer Inferno: Afro-Futurism Meets Ballroom, featuring DJ sets from Charles Hawthorne, KKingboo and Lady Ryan.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is lucky — we start our summer with San Francisco Pride and close it with \u003ca href=\"https://www.oaklandpride.org/\">Oakland Pride\u003c/a>. This Sunday, Sept. 8, the Town hosts its official LGBTQ+ celebration with a parade and downtown block party headlined by Da Brat. With additional performances by Mexican singer Wendy Guevara and East Bay hip-hop originals \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">the Conscious Daughters\u003c/a>, this is one not to miss.\u003c/p>\n\u003cp>Oakland’s many queer bars and clubs will be lighting up with dance parties and drag shows of their own all throughout the weekend. We’ve rounded up a selection of parties for people of different musical tastes and interests, but if these don’t strike your fancy, check out your favorite venue’s Instagram for their full lineup of events.\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/2RdP66KicNc'\n title='//www.youtube.com/embed/2RdP66KicNc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/gorgeous-feat-tygapaw-jasmine-the-new-parish-tickets/13869073\">Gorgeous Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 6, 10 p.m.-2 a.m.\u003cbr>\nThe New Parish\u003cbr>\n$20–$30\u003c/i>\u003c/p>\n\u003cp>When Tygapaw is in the mix, hours evaporate because every cell of your body is dancing its hardest. The Brooklyn-based, Jamaica-born techno DJ headlines Gorgeous, a massive party taking over two rooms at the New Parish. They’ll be joined by Jasmine Infiniti, mother of the trans DJ collective New World Dysorder, and a crew of the Bay’s finest underground selectors: Adonai, Black, Brown Angel, KKingboo, De Alma, Tastemaker, Blossom, Discnogirl and Yuca Frita.\u003c/p>\n\u003cfigure id=\"attachment_13899489\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899489\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/013_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Militia Scunt sits on a throne during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/we-run-this-tickets-976818108257\">We Run This\u003c/a>\u003c/h2>\n\u003cp>\u003ci>15th & Franklin St.\u003c/i>\u003cbr>\nSept. 7, 5–10 p.m.\u003cbr>\nSliding scale, no one turned away for lack of funds\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oaklash takes chances on experimental artists and puts disability and racial justice at the forefront, which is how it’s grown to be one of the Bay’s most forward-thinking platforms for drag. Along with local businesses, Oaklash is hosting a community block party outside of queer bar Nectar Social Club, with a drag show hosted by Militia Scunt and a live set by TECA, a duo that raps and plays live percussion over global bass, reggaeton and jersey club beats. Lady Ryan, La Femme Papi, Subeaux, FloridaWTR and Oaklash co-founder Mama Celeste will be in the mix as well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/oakland-pride-events-take-the-town-free-pride-weekend-bar-crawl-tickets-1005961787787\">Take the Town Bar Crawl\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Town Bar and Lounge\u003cbr>\nSept. 7, 4:45–9:30 p.m.\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>If you’re looking to meet cuties or get to know Oakland’s queer bar scene, Take the Town Bar Crawl is a good place to start. It kicks off at swanky cocktail lounge Town Bar & Lounge, which has a packed schedule of DJs spinning pop, disco and hip-hop all throughout Pride weekend. The crawl will make its way downtown to Latinx bar Que Rico, big nightclub Fluid510 and Old Oakland destination Summer Bar & Lounge. Patrons are encouraged to stick around for the afterparty.\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/VXu0Ds6LGvw'\n title='//www.youtube.com/embed/VXu0Ds6LGvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/gay-areaa-oakland-pride-tickets-976451852777?aff=erelexpmlt\">Gay Areaaa! Oakland Pride\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Zanzi\u003cbr>\nSept. 7, 9 p.m.–2 a.m.\u003cbr>\n$33\u003c/i>\u003c/p>\n\u003cp>Three fire parties — the Sweet Spot, El Afters and Vamp — have teamed up for an Oakland Pride mega celebration at Zanzi. Expect live sets from rappers Alicia Goku and Bobby Sanchez, plus a special performance from vocalist and ballroom star Sir Joq. Go-go dancers of different gender expressions will shake it while DJs Dreams, De Alma, Lady Ryan and Align spin their favorite booty-popping jams.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/oakland-pride-after-dark-oakland-pride-after-party-and-street-party-tickets-967560749247?aff=ebdssbdestsearch\">Que Rico’s Pride After Dark\u003c/a>\u003c/h2>\n\u003cp>\u003ci>15th & Franklin St.\u003cbr>\nSept. 8, 6–10 p.m.\u003cbr>\n$10+\u003c/i>\u003c/p>\n\u003cp>Que Rico curated Oakland Pride’s Latin stage, and the bar has a packed weekend of celebrations. Its Pride After Dark party takes over the entire block for a Selena tribute drag show, Sexy Papi go-go dancers and DJs.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.instagram.com/fluid510/p/C_MLWgjStCj/\">Pride: A Special Day Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fluid510\u003cbr>\nSept. 8, 3 p.m. on\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The drag troupe Filipinx takes over Fluid510 for a free day party. Hosted by Nia Politan and Phoebe Cakes, it features lip syncs from Sassi Fran, Tsunomi Punoni, Tila Pia and Nutasha, plus go-go dancers.\u003c/p>\n\u003cfigure id=\"attachment_13963771\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963771\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1639x2048.jpeg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/1N8A3245-1920x2400.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lady Ryan spins at her party, The Sweet Spot, on July 7, 2024 at Art Haus in Oakland. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1327221\">Soulovely\u003c/a>\u003c/h2>\n\u003cp>\u003ci>7th West\u003cbr>\nSept. 9, 3:30 p.m. on\u003cbr>\n$40\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Oakland to All throws balls where Oakland’s most fierce dancers come to vogue. They’re taking over the Oakland Pride edition of Soulovely, a dance party that puts queer and trans people of color at the center. This month’s theme? Queer Inferno: Afro-Futurism Meets Ballroom, featuring DJ sets from Charles Hawthorne, KKingboo and Lady Ryan.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "taylor-swift-fans-election-kamala-harris-trump-swifties",
"title": "What Do Taylor Swift Fans Expect From Her in This Election?",
"publishDate": 1725566662,
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"headTitle": "What Do Taylor Swift Fans Expect From Her in This Election? | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>[aside postID='news_11999092']Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>[aside postID='arts_13960424'] Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>[aside postID='arts_13955679']Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Swifties understand why Taylor’s socials have gone dark, but still hope for a Kamala Harris endorsement. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003cem>\u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>\u003c/em>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>In the dry heat on a recent Saturday in Sacramento, just half a mile from the state Capitol, a long line of fans waited outside a downtown nightclub to attend a dedicated Taylor Swift party.\u003c/p>\n\u003cp>One of these fans was Rachel Hills, who walked the line at \u003ca href=\"https://www.aceofspadessac.com/\">Ace of Spades\u003c/a> handing black Sharpies to those around her, inviting them to write the name of a man who had wronged them on her long, white ball gown she was wearing – a new Swiftie tradition that references the singer’s 2024 song “\u003ca href=\"https://www.youtube.com/watch?v=Atdzfj8LcuY\">The Smallest Man Who Ever Lived\u003c/a>.” Hills promised she would burn the dress after the show in a form of cathartic release.\u003c/p>\n\u003cp>Among the scribbled names of ex-boyfriends and family members, someone had written a familiar name at the bottom of Hills’ dress: “Donald Trump.”\u003c/p>\n\u003cfigure id=\"attachment_13963714\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Hills asks a fellow Taylor Swift fan to write on her dress at a Taylor Swift dance party in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Politics is a recurring topic among Taylor Swift’s fanbase, and Swifties – like \u003ca href=\"https://www.technologyreview.com/2023/02/16/1067943/kpop-fans-shaping-elections-worldwide/\">K-Pop stans\u003c/a> and \u003ca href=\"https://www.theringer.com/2016/6/3/16042806/beyonce-beyhive-online-fan-forum-b7c7226ac16d\">the BeyHive\u003c/a> – are known for being diligent organizers. In August, more than 34,000 attendees tuned in to a \u003ca href=\"https://www.kqed.org/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans\">“Swifties for Kamala” Zoom call\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hills said that before Biden stepped aside in July, she’d felt anxiety and dread about a possible second Trump presidency. But then, “Kamala came in and I just, all of a sudden, felt a seed of hope,” she told KQED, specifically citing Harris’ stance on reproductive rights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier in her life, Hills “had to \u003ca href=\"https://en.wikipedia.org/wiki/Selective_reduction\">selectively reduce\u003c/a> because I was pregnant with conjoined twins and a third baby,” she said. “I wouldn’t have been able to make that decision to save my one daughter’s life if that [procedure] hadn’t been in play … It’s so important for people to have that option, and to be able to make those decisions based on what their doctors are helping them with.”\u003c/p>\n\u003cp>Her daughter is now 16 – and Hills is thinking about the world that she will grow up in. She wants her teen, like all teens, to “feel the freedom to do what they need to do.”\u003c/p>\n\u003cp>“They are a generation that pull no punches. They are so smart, and they just do things differently,” she said. “I have so much hope for them. But they need a place to start from.”\u003c/p>\n\u003cfigure id=\"attachment_13963715\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Sanchez (left) and Rachel Hill have been fans of Taylor Swift for 10 years and were eager to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Hills, it often feels like Swift is “doing things that you would expect the government to do to help,” referencing Swift’s \u003ca href=\"https://www.gofundme.com/f/qyxww9-washington-post-mom\">donations to struggling families\u003c/a> during the pandemic. Swift can even indirectly impel the government to take action, as she did with \u003ca href=\"https://www.forbes.com/sites/virginieberger/2024/06/14/how-taylor-swifts-ticketing-fiasco-fuels-dojs-live-nation-antitrust-lawsuit/\">the Department of Justice’s antitrust lawsuit against Live Nation-Ticketmaster\u003c/a>. The singer, said Hills, “has so much sway. She does so much good.”\u003c/p>\n\u003cp>But she also acknowledges that wanting famous people to be involved in politics is a “double-edged sword.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.kqed.org/news/tag/elon-musk\">Elon Musk\u003c/a> right now is just going off the rails, and he has so much money and is influencing things,” she said. “I don’t think because you have endless amounts of money that you should have political sway.”\u003c/p>\n\u003ch2>Expectations of ‘Miss Americana’\u003c/h2>\n\u003cp>Concisely explaining the singer’s relationship to her public over the past two decades can be difficult, \u003ca href=\"https://annehelen.substack.com/p/taylor-swift-and-the-good-girl-trap\">even contentious\u003c/a>, especially when it comes to politics.\u003c/p>\n\u003cp>How one views Taylor Swift – the figure, the singer, even the activist – often depends on how attuned they are to the latest news around her.\u003c/p>\n\u003cp>“I know that we’ve had the Vienna situation,” said 27-year-old Sacramento resident Alondra Monrroy, who is supporting Kamala Harris. “She’s only one person, but she has a lot of power, so I do hope she’ll speak about [the election]. But at the same time, I understand why she doesn’t.”\u003c/p>\n\u003cfigure id=\"attachment_13963716\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Alvarado (left) and Alondra Monrrov pose for a photograph outside of Ace of Spades in Sacramento before attending ‘The Taylor Party: Taylor Night’ on Aug. 31, 2024. Monrroy donned a ‘Reputation’-inspired look – in part hoping for Swift to soon release her re-recorded version of her sixth studio album. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monrroy was referencing an incident in late August, when authorities thwarted an attack \u003ca href=\"https://apnews.com/article/taylor-swift-cia-vienna-concerts-foiled-attack-7e454af63efcff2a3ab0a20c718aba8d#\">intended to kill thousands\u003c/a> at Taylor Swift’s concert in Vienna – reminding many of the \u003ca href=\"https://apnews.com/article/manchester-ariana-grande-concert-bombing-lawsuit-f2e8298cb045501eff5245392522d29c\">2017 bombing of an Ariana Grande concert in Manchester\u003c/a> that killed 22 people. Swift waited to comment on the incident until the European leg of her tour had concluded, saying that, “The reasons for the cancellations filled me with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming to those shows.”\u003c/p>\n\u003cp>“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” her statement read. “In cases like this one, ‘silence’ is actually showing restraint.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Swift’s social media has gone dark since.\u003c/p>\n\u003cp>“Most people are mad that she stayed quiet [about the Vienna cancellation],” said 19-year-old Leslie Rewinkle. “I’m not sure if it was just that one concert that was going to have people killed or if it was multiple after that, but I’m glad that she stayed quiet. Solely for the fact of protecting everybody and the vicinity of it.”\u003c/p>\n\u003cp>“I’ll ask from her just for her to stay true to herself,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13963713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swifites sing their hearts out to ‘You Belong With Me’ during ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the rollercoaster of her public image hurdles on – even without her saying \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">very much about politics at all\u003c/a>: In 2017, she was praised online by the \u003ca href=\"https://www.wnycstudios.org/podcasts/otm/segments/taylor-swift-alt-right-icon\">alt-right\u003c/a>, who hailed her as their icon. By the 2020s, conservative outlets and Republicans were decrying her as a \u003ca href=\"https://www.newsweek.com/republican-bizarre-accusation-taylor-swift-witchcraft-1836328\">practitioner of witchcraft\u003c/a> and pledging a “\u003ca href=\"https://www.rollingstone.com/politics/politics-features/donald-trump-more-popular-taylor-swift-maga-biden-1234956829/\">holy war\u003c/a>” against her.\u003c/p>\n\u003cp>Trump’s presidency encouraged many celebrities to speak vocally about politics, with \u003ca href=\"https://www.theverge.com/interface/2020/1/16/21067483/chris-evans-starting-point-vanity-project-captain-america-democracy\">varying degrees of success\u003c/a> or \u003ca href=\"https://www.thecut.com/article/womans-world-review-katy-perry-is-stuck-in-2016.html\">savviness\u003c/a>. But for Swift, she \u003ca href=\"https://www.instagram.com/p/BopoXpYnCes/?hl=en\">made waves\u003c/a> when she made her first endorsement of a candidate – a Democrat – in 2018.\u003c/p>\n\u003cfigure id=\"attachment_13936377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg\" alt=\"A slender young white woman with long blonde hair throws her arms out to her sides, mid-performance, with a sea of dry ice behind her. She is wearing a one-legged black bodysuit embellished with red snakes and holding a microphone in her right hand.\" width=\"1920\" height=\"1471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-800x613.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1020x781.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1474269174-scaled-e1697219621238-1536x1177.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during ‘The Eras Tour’ on March 17, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Miss Americana\u003c/em>, a self-made 2020 documentary about Swift, revealed that the singer pushed hard for this endorsement. In one pivotal scene, Swift is surrounded by mostly men – including her father – who are seen vocally dissuading her from endorsing the Democratic Tennessee senatorial candidate.\u003c/p>\n\u003cp>Watching the documentary, the legacy of female country band The Chicks clearly loomed large over her management’s heads. The female country band, once beloved, were \u003ca href=\"https://19thnews.org/2023/03/the-chicks-silenced-politics-20-years-influence-country-music/\">viciously ostracized\u003c/a> by the music industry and fans after expressing anger for then-President George W. Bush and the Iraq invasion.\u003c/p>\n\u003cp>But Swift cited her strong reaction against Trump – and the Republican senatorial candidate Marsha Blackburn, whom she saw as a threat to \u003ca href=\"https://variety.com/2020/music/features/taylor-swift-politics-sundance-documentary-miss-americana-1203471910/\">feminism and LGBTQ+ rights\u003c/a> – as a need to be “the right side of history.” In fact, the song “\u003ca href=\"https://www.youtube.com/watch?v=GJU-S1t2r1M\">Only the Young\u003c/a>,” released with \u003cem>Miss Americana\u003c/em>, directly references the kind of despair her young fans may be feeling due to the Republican presidency: “It keeps me awake / The look on your face / The moment you heard the news / You’re screaming inside.”\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/taylorswift13/status/1266392274549776387?lang=en\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963717\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png\" alt=\"\" width=\"1114\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM.png 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-800x309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-1020x394.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-160x62.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-05-at-12.07.12-PM-768x296.png 768w\" sizes=\"(max-width: 1114px) 100vw, 1114px\">\u003c/a>\u003c/p>\n\u003cp>Since, Swift has been vocal about women’s rights and supporting Democrats, and \u003ca href=\"https://www.nbcnews.com/politics/2020-election/taylor-swift-endorses-joe-biden-president-n1242483\">endorsed Joe Biden in 2020\u003c/a>. In the midst of her wildly popular \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">Eras world tour\u003c/a>, her critics from the left often say she is not doing enough. Most recently, Swift’s been criticized for not pushing back publicly against Trump for \u003ca href=\"https://www.npr.org/2024/08/30/nx-s1-5087913/donald-trump-artificial-intelligence-memes-deepfakes-taylor-swift\">his use of AI images of her\u003c/a>, fabricating an endorsement for him. (It’s worth noting that the \u003ca href=\"https://www.msnbc.com/deadline-white-house/deadline-legal-blog/taylor-swift-sue-trump-truth-social-post-ai-rcna167380\">legal recourse\u003c/a> for using AI is generally still pretty fuzzy.)\u003c/p>\n\u003cfigure id=\"attachment_13868272\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg\" alt=\"\" width=\"1500\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. \u003ccite>(Bob Boilen/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are not people who hate Taylor Swift, necessarily. Some of her harshest critics are her fans. The inherent intimacy of this kind of fandom, combined with the platform for one’s thoughts that social media provides, has for many turned the role of ‘fan’ into a kind of policing force, watching and commenting and posting on a singer’s personal life – mostly \u003ca href=\"https://www.thedailybeast.com/obsessed/why-do-harry-styles-fans-hate-olivia-wilde\">their romantic life\u003c/a>. Swift \u003ca href=\"https://www.glamour.com/story/taylor-swift-really-hates-matty-healy-and-also-maybe-us\">expressed distaste\u003c/a> for this kind of fan behavior in a recent song, “\u003ca href=\"https://www.youtube.com/watch?v=U2W173hRfyA\">But Daddy I Love Him\u003c/a>.”\u003c/p>\n\u003cp>19-year-old Tae Siera, who was attending the Sacramento Swift party with Rewinkle, said that fans who are too young to vote – and feel like they cannot make change – try to express their opinions \u003cem>by\u003c/em> putting pressure on celebrities to speak out.\u003c/p>\n\u003cp>“I think it’s important for celebrities to somewhat say, ‘Here’s where I stand,’” said Siera. But then fans need to “go out there and make change.”\u003c/p>\n\u003cfigure id=\"attachment_13963718\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-5-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Leslie Rewinkle (left) and Tae Siera show their friendship bracelets while waiting in line to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Write \u003ca href=\"https://www.kqed.org/news/11967439/how-can-i-call-my-representative-a-step-by-step-guide-to-the-process\">letters to your local Congress\u003c/a>. You can talk to your parents to see if they’re voting the way that you want to. Try to educate the adults in your life, because a lot of them actually are not as informed as you think they are,” Siera said. “[Swift] can only do so much, and then it’s up to everyone else to really make that change themselves.”\u003c/p>\n\u003ch2>What are the issues on top of Swifties’ minds?\u003c/h2>\n\u003cp>While the Swift fans in Sacramento also cited concerns over immigration justice, LGBTQ+ rights and student-loan forgiveness as electoral priorities for November, attendees overwhelmingly said they were worried about attacks on abortion. 20-year-old Karen Solano said she felt fear for how America is “just going back” on reproductive rights.\u003c/p>\n\u003cp>“I feel like a lot of people don’t know how devastating it is for women right now,” Solano said.\u003c/p>\n\u003cfigure id=\"attachment_13963719\" class=\"wp-caption aligncenter\" style=\"max-width: 1390px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg\" alt=\"\" width=\"1390\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_.jpg 1390w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-800x384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-1020x489.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dipt.tay_-768x369.jpg 768w\" sizes=\"(max-width: 1390px) 100vw, 1390px\">\u003cfigcaption class=\"wp-caption-text\">From left, Karen Solano, Debora Rosales and Selne Rosales stand in line on R Street waiting to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. At right, Solano’s ‘Speak Now’ necklace. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-old Debora Rosales, waiting in line alongside Solano, agreed.\u003c/p>\n\u003cp>“The rights that women have worked so hard for – just how hard they work to get to where we are – and to have that be so easily taken away from us … It’s just really heartbreaking,” said Rosales. “We just got to keep fighting and got to keep being outspoken about everything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like \u003ca href=\"https://www.kqed.org/news/11999092/olivia-rodrigo-fans-abortion-kamala-harris-election-2024\">fellow pop star Olivia Rodrigo\u003c/a>, Swift herself has \u003ca href=\"https://x.com/taylorswift13/status/1540382753677627393?lang=en\">commented\u003c/a> on the overturn of Roe vs. Wade: “I’m absolutely terrified that this is where we are — that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”\u003c/p>\n\u003cp>It’s the type of statement that Christina Parker, 35, and Courtney Parker, 31, appreciate.\u003c/p>\n\u003cp>“She’s very verbal about where she stands, which is pretty incredible, especially coming from a \u003ca href=\"https://www.rollingstone.com/music/music-country-lists/teardrops-on-her-guitar-taylor-swifts-10-countriest-songs-164352/\">background of country\u003c/a>,” said Christina. It “shouldn’t be a question” if she or anyone has an ectopic pregnancy and may need a procedure to save her life, she said.\u003c/p>\n\u003cfigure id=\"attachment_13963720\" class=\"wp-caption aligncenter\" style=\"max-width: 1494px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg\" alt=\"\" width=\"1494\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_.jpg 1494w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dip2.tay_-768x380.jpg 768w\" sizes=\"(max-width: 1494px) 100vw, 1494px\">\u003cfigcaption class=\"wp-caption-text\">At left, Taylor swift fans Courtney Parker and Christina Parker show their friendship bracelets while waiting in line; at right, Courtney Parker (left) and Christina Parker wait in line on R Street to attend ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two say they also see themselves in Kamala Harris, the first Black and South Asian woman to hold the Vice Presidential role.\u003c/p>\n\u003cp>“It’s an emotional time, honestly,” Christina said. “Especially looking how we look and how we present, and having somebody who is running for office that looks and represents us.”\u003c/p>\n\u003cp>“My hope is that if Kamala wins, Taylor performs at her inauguration,” said Courtney.\u003c/p>\n\u003cfigure id=\"attachment_13963722\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/download-1-1-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashly Smith and Maddy Meckel showcase their friendship bracelets before attending ‘The Taylor Party: Taylor Night’ at Ace of Spades in Sacramento on Aug. 31, 2024. Smith has several tattoos dedicated to Taylor Swift – including one that reminds her of her mother, who passed away when Smith was 19. ‘She always did these dances [to Swift’s songs]. Now I look back and I’m like, ‘Those were the cutest things in the whole world.’’ \u003ccite>(Madelaine Church for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>26-year-olds Ashly Smith and Maddey Meckel said they ultimately hope Swift will eventually publicly endorse Harris – especially because of the galvanizing effect it would have on the youth vote.\u003c/p>\n\u003cp>“This is the first election I’m going to vote in,” Meckel said, “that I actually feel proud to vote for a candidate.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories of pop-culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-classical-music-concerts-bay-area-fall-2024",
"title": "The Best Classical Music Concerts in the Bay Area This Fall",
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"headTitle": "The Best Classical Music Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n",
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"excerpt": "From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.",
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"title": "The Best Classical Music Concerts in the Bay Area This Fall | KQED",
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"headline": "The Best Classical Music Concerts in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wine & Bowties Returns With a One-Day Bazaar in Oakland",
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"content": "\u003cp>If it \u003cem>feels\u003c/em> like it’s been a while since you’ve heard from \u003ca href=\"https://www.instagram.com/wineandbowties/\">Wine & Bowties\u003c/a>, you’re not wrong. While the East Bay event organizers’ legendary \u003ca href=\"https://www.kqed.org/arts/13835474/photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion\">Feels\u003c/a> parties of the mid-2010s remain firmly imprinted on every attendee’s memory, the group’s been quiet since the pandemic.\u003c/p>\n\u003cp>Until now, that is. On Saturday, the Wine & Bowties Bazaar showcases all the artistic soul of a classic warehouse party, and with slightly more sensible hours for those of us who, let’s face it, are 10 years older now. That’s not the only concession to grown-up self-care: Saturday’s stage headliner, tai chi practicioner \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, all but invented the genre of “\u003ca href=\"https://www.passionweiss.com/2024/08/29/seiji-oda-interview-oakland-hyphy-last-summer-a-gentle-gigg/\">hyphy meditation\u003c/a>.”\u003c/p>\n\u003cp>The day’s main attraction is more than 40 multicultural, multidisciplinary exhibitors — think art, clothing, zines, ceramics, handbags, records, herbs, stationery, houseplants and jewelry. Along with Seiji Oda of “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>” fame, the stage hosts Oakland School for the Arts’ \u003ca href=\"https://www.instagram.com/p/C4wcxk_PWYq/\">Prospect Band\u003c/a>, lo-fi producer \u003ca href=\"https://cheflee.bandcamp.com/album/fescue-june-2\">Chef Lee\u003c/a>, and DJ sets from Soul Light Collective and 7000coils.\u003c/p>\n\u003cp>And while that’s probably enough enticement — plus food courtesy of Vegan Chula Eats, Tacos El Ultimo Baile and Porchetta — it’s really the attendees that make Wine & Bowties events truly special. As a wise man once said: \u003ca href=\"https://x.com/OGpenn/status/1008260676924477440\">the people are the artwork\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Wine & Bowties Bazaar takes place on Saturday, Aug. 31, from 2 p.m. to 8 p.m., at 2150 Livingston St. in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-wine-bowties-bazaar-tickets-964327368117?aff=InstagramProfile\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "Wine & Bowties Returns With a One-Day Bazaar in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it \u003cem>feels\u003c/em> like it’s been a while since you’ve heard from \u003ca href=\"https://www.instagram.com/wineandbowties/\">Wine & Bowties\u003c/a>, you’re not wrong. While the East Bay event organizers’ legendary \u003ca href=\"https://www.kqed.org/arts/13835474/photos-and-recap-wine-bowties-feels-vi-at-the-craneway-pavilion\">Feels\u003c/a> parties of the mid-2010s remain firmly imprinted on every attendee’s memory, the group’s been quiet since the pandemic.\u003c/p>\n\u003cp>Until now, that is. On Saturday, the Wine & Bowties Bazaar showcases all the artistic soul of a classic warehouse party, and with slightly more sensible hours for those of us who, let’s face it, are 10 years older now. That’s not the only concession to grown-up self-care: Saturday’s stage headliner, tai chi practicioner \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, all but invented the genre of “\u003ca href=\"https://www.passionweiss.com/2024/08/29/seiji-oda-interview-oakland-hyphy-last-summer-a-gentle-gigg/\">hyphy meditation\u003c/a>.”\u003c/p>\n\u003cp>The day’s main attraction is more than 40 multicultural, multidisciplinary exhibitors — think art, clothing, zines, ceramics, handbags, records, herbs, stationery, houseplants and jewelry. Along with Seiji Oda of “\u003ca href=\"https://www.youtube.com/watch?v=OyxxSi8-Q-E\">a gentle gigg\u003c/a>” fame, the stage hosts Oakland School for the Arts’ \u003ca href=\"https://www.instagram.com/p/C4wcxk_PWYq/\">Prospect Band\u003c/a>, lo-fi producer \u003ca href=\"https://cheflee.bandcamp.com/album/fescue-june-2\">Chef Lee\u003c/a>, and DJ sets from Soul Light Collective and 7000coils.\u003c/p>\n\u003cp>And while that’s probably enough enticement — plus food courtesy of Vegan Chula Eats, Tacos El Ultimo Baile and Porchetta — it’s really the attendees that make Wine & Bowties events truly special. As a wise man once said: \u003ca href=\"https://x.com/OGpenn/status/1008260676924477440\">the people are the artwork\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Wine & Bowties Bazaar takes place on Saturday, Aug. 31, from 2 p.m. to 8 p.m., at 2150 Livingston St. in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-wine-bowties-bazaar-tickets-964327368117?aff=InstagramProfile\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the Bay Area it’s easier to find a talented artist than a quality parking spot. And platforms that highlight the work of local creatives are even more scarce. Artists might make this region a cultural hub, but it’s hard for them to stay afloat out here.\u003c/p>\n\u003cp>That’s why the event series \u003ca href=\"https://www.instagram.com/athingtotalkabout/\" target=\"_blank\" rel=\"noopener\">A Thing To Talk About\u003c/a> is a necessity.\u003c/p>\n\u003cp>Since its first event in January 2023, A Thing To Talk About has hosted game nights, comedy shows and live music. The group has featured artists, activists and entrepreneurs, supporting people who make up the cultural fabric of the region.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nOFcvZXdWTo\u003c/p>\n\u003cp>Attendees have enjoyed performances from a long list of artists, including Pinole vocalist \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens \u003c/a>and Oakland poet \u003ca href=\"https://linktr.ee/Iamjrice\" target=\"_blank\" rel=\"noopener\">Jay Rice\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13912744/michael-wayne-turner-iii-satisfied-national-poetry-month\" target=\"_blank\" rel=\"noopener\">. \u003c/a>A Thing To Talk About has also done interviews with folks like San Francisco tattoo artist \u003ca href=\"https://www.instagram.com/inkbysmilezzz/\" target=\"_blank\" rel=\"noopener\">Erica Gonzalez\u003c/a> and Vallejo hip-hop juggernaut\u003ca href=\"https://www.kqed.org/arts/tag/larussell\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Surprisingly enough, the person who created this platform isn’t from the Bay and isn’t an artist. The guy behind the events is actually a San Francisco-based nurse who simply wanted to be a “good actor” in the community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widmaer “Wid” Jean was born in Haiti and moved to the U.S. when he was 10 years old. He relocated to the Bay Area for his job in 2020, and h\u003c/span>\u003cspan style=\"font-weight: 400\">is experience as a healthcare worker in San Francisco brought about a few revelations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13963350 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg\" alt=\"Every A Thing To Talk About game night is themed, this was 'King and Queen of Oakland' held in September of 2023.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every A Thing To Talk About game night has a theme. This was ‘King and Queen of Oakland,’ held in September of 2023. \u003ccite>(Tony Pape)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Firstly, Wid noticed that he was treated differently and often excluded because of his Haitian background. \u003c/span>\u003cspan style=\"font-weight: 400\">Secondly, he realized that he’s in a relatively privileged position; his job pays him enough that he can travel to majority-Black places like the Caribbean, where he doesn’t feel othered. \u003c/span>\u003cspan style=\"font-weight: 400\">Lastly, he took account of the fact that there are so many people who can’t just up and leave to escape the -isms of society. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just wondered,” says Wid, “What would life be like if I had 1% less? I\u003c/span>\u003cspan style=\"font-weight: 400\">magine someone having 50% less, or even \u003c/span>\u003cspan style=\"font-weight: 400\">75% less — and they have to go through these [exclusionary] experiences.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg\" alt=\"Chef Oli sprinkles a lil flavor on a meal during the pilot episode of Soundbites.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Oli Tomas sprinkles a lil flavor on a meal during the pilot episode of Soundbites. \u003ccite>(Courtesy of Widmaer Jean )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, Wid decided to take his disposable income and do something for his local community. As people began rebuilding in-person connections after COVID lockdowns, he threw his first event. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with a game night at an Ethiopian restaurant and bar in Oakland, \u003ca href=\"https://cafecolucci.com/\" target=\"_blank\" rel=\"noopener\">Cafe Colucci.\u003c/a> As he continued to plan more events, A Thing To Talk About started incorporating live performances. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950392/rob-woods\" target=\"_blank\" rel=\"noopener\">Rob Woods,\u003c/a> one of the performers at an early iteration of the series, explains Wid’s approach as “\u003cspan style=\"font-weight: 400\">nothing more, nothing less than an average dude connecting with the local artists to put together something that highlights creators and other entrepreneurs on a high level — all done with money out of his pockets.” [aside postid='arts_13963258,arts_13962624,arts_13962980']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woods, who now works with Wid and produces an artistic food video series called \u003cem>Soundbites\u003c/em>, emphasizes that Wid uses “every penny, nickel and dime” from his personal paychecks to make this happen. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s hard to find a person out there that just wants to invest not only in you as an artist, but in the community around you,” says Woods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wid has now become a part of this community of artists. He’s recently learned how to DJ, edit video and shoot photos. “And \u003c/span>\u003cspan style=\"font-weight: 400\">I’m slowly building out my presence online,” says Wid, who admits he’s not used to being “out there.” \u003c/span>\u003c/p>\n\u003cp>And he’s got plenty of events brewing.\u003c/p>\n\u003cp>On Sept. 14, A Thing To Talk About is teaming up with \u003ca href=\"https://www.instagram.com/p/C_GbY_aPHAI/\" target=\"_blank\" rel=\"noopener\">The Speed Dating Company\u003c/a> to host \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\" target=\"_blank\" rel=\"noopener\">an event for those who are single and ready to mingle\u003c/a> at Fluid510 in downtown Oakland.\u003c/p>\n\u003cp>On Sept. 21, A Thing To Talk About and \u003ca href=\"https://www.instagram.com/yourhomiesgram/\" target=\"_blank\" rel=\"noopener\">Your Homies\u003c/a> collective will host a concert with \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\" target=\"_blank\" rel=\"noopener\">Berkeley rapper LOE Gino\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13959495/shante-r-and-b-smile-east-oakland\" target=\"_blank\" rel=\"noopener\">East Oakland singer Shanté\u003c/a> and a handful of others at Oakland’s Cafe Lakeview.\u003c/p>\n\u003cp>Earlier this month, A Thing To Talk About dropped a pilot episode of \u003cem>Soundbites\u003c/em>. Formatted as a two-way discussion, the interviews pair musicians and spoken word artists with chefs who create meals based on the artists’ work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9DpK8zIKojc\u003c/p>\n\u003cp>By throwing these in-person events and creating content, A Thing To Talk About is creating much-needed connections for audience members and artists alike.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I want to provide a high-production platform,” says Wid. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> want to create a paid opportunity for people who are videographers and editors; I want people within our community to tag on to a project like this one.”\u003c/span>\u003c/p>\n\u003cp>For artists who are interested in getting involved, Rob and Wid suggest reaching out to them directly through their \u003ca href=\"https://www.instagram.com/athingtotalkabout\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> page. \u003cspan style=\"font-weight: 400\">“It’s an incubator for other individuals who might want to do something,” Woods says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it all boils down to it, Wid’s goal is a simple and relatable quest: “I just want to grow community.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Thing to Talk About presents speed dating at Fluid510 in Oakland on Sept. 14. \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\">Tickets and details here\u003c/a>. On Sept. 21, they team up with Your Homies for a concert featuring LOE Gino, Shanté and more at Cafe Lakeview. \u003ca href=\"https://www.whatstba.com/e/yourhomiesxoakland\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area it’s easier to find a talented artist than a quality parking spot. And platforms that highlight the work of local creatives are even more scarce. Artists might make this region a cultural hub, but it’s hard for them to stay afloat out here.\u003c/p>\n\u003cp>That’s why the event series \u003ca href=\"https://www.instagram.com/athingtotalkabout/\" target=\"_blank\" rel=\"noopener\">A Thing To Talk About\u003c/a> is a necessity.\u003c/p>\n\u003cp>Since its first event in January 2023, A Thing To Talk About has hosted game nights, comedy shows and live music. The group has featured artists, activists and entrepreneurs, supporting people who make up the cultural fabric of the region.\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/nOFcvZXdWTo'\n title='//www.youtube.com/embed/nOFcvZXdWTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Attendees have enjoyed performances from a long list of artists, including Pinole vocalist \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens \u003c/a>and Oakland poet \u003ca href=\"https://linktr.ee/Iamjrice\" target=\"_blank\" rel=\"noopener\">Jay Rice\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13912744/michael-wayne-turner-iii-satisfied-national-poetry-month\" target=\"_blank\" rel=\"noopener\">. \u003c/a>A Thing To Talk About has also done interviews with folks like San Francisco tattoo artist \u003ca href=\"https://www.instagram.com/inkbysmilezzz/\" target=\"_blank\" rel=\"noopener\">Erica Gonzalez\u003c/a> and Vallejo hip-hop juggernaut\u003ca href=\"https://www.kqed.org/arts/tag/larussell\" target=\"_blank\" rel=\"noopener\"> LaRussell\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surprisingly enough, the person who created this platform isn’t from the Bay and isn’t an artist. The guy behind the events is actually a San Francisco-based nurse who simply wanted to be a “good actor” in the community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widmaer “Wid” Jean was born in Haiti and moved to the U.S. when he was 10 years old. He relocated to the Bay Area for his job in 2020, and h\u003c/span>\u003cspan style=\"font-weight: 400\">is experience as a healthcare worker in San Francisco brought about a few revelations.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13963350 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg\" alt=\"Every A Thing To Talk About game night is themed, this was 'King and Queen of Oakland' held in September of 2023.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/385618931_274939652039025_6278788187714236849_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every A Thing To Talk About game night has a theme. This was ‘King and Queen of Oakland,’ held in September of 2023. \u003ccite>(Tony Pape)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Firstly, Wid noticed that he was treated differently and often excluded because of his Haitian background. \u003c/span>\u003cspan style=\"font-weight: 400\">Secondly, he realized that he’s in a relatively privileged position; his job pays him enough that he can travel to majority-Black places like the Caribbean, where he doesn’t feel othered. \u003c/span>\u003cspan style=\"font-weight: 400\">Lastly, he took account of the fact that there are so many people who can’t just up and leave to escape the -isms of society. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just wondered,” says Wid, “What would life be like if I had 1% less? I\u003c/span>\u003cspan style=\"font-weight: 400\">magine someone having 50% less, or even \u003c/span>\u003cspan style=\"font-weight: 400\">75% less — and they have to go through these [exclusionary] experiences.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg\" alt=\"Chef Oli sprinkles a lil flavor on a meal during the pilot episode of Soundbites.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/1.40.2_1.40.2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Oli Tomas sprinkles a lil flavor on a meal during the pilot episode of Soundbites. \u003ccite>(Courtesy of Widmaer Jean )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, Wid decided to take his disposable income and do something for his local community. As people began rebuilding in-person connections after COVID lockdowns, he threw his first event. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with a game night at an Ethiopian restaurant and bar in Oakland, \u003ca href=\"https://cafecolucci.com/\" target=\"_blank\" rel=\"noopener\">Cafe Colucci.\u003c/a> As he continued to plan more events, A Thing To Talk About started incorporating live performances. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950392/rob-woods\" target=\"_blank\" rel=\"noopener\">Rob Woods,\u003c/a> one of the performers at an early iteration of the series, explains Wid’s approach as “\u003cspan style=\"font-weight: 400\">nothing more, nothing less than an average dude connecting with the local artists to put together something that highlights creators and other entrepreneurs on a high level — all done with money out of his pockets.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woods, who now works with Wid and produces an artistic food video series called \u003cem>Soundbites\u003c/em>, emphasizes that Wid uses “every penny, nickel and dime” from his personal paychecks to make this happen. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">t’s hard to find a person out there that just wants to invest not only in you as an artist, but in the community around you,” says Woods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wid has now become a part of this community of artists. He’s recently learned how to DJ, edit video and shoot photos. “And \u003c/span>\u003cspan style=\"font-weight: 400\">I’m slowly building out my presence online,” says Wid, who admits he’s not used to being “out there.” \u003c/span>\u003c/p>\n\u003cp>And he’s got plenty of events brewing.\u003c/p>\n\u003cp>On Sept. 14, A Thing To Talk About is teaming up with \u003ca href=\"https://www.instagram.com/p/C_GbY_aPHAI/\" target=\"_blank\" rel=\"noopener\">The Speed Dating Company\u003c/a> to host \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\" target=\"_blank\" rel=\"noopener\">an event for those who are single and ready to mingle\u003c/a> at Fluid510 in downtown Oakland.\u003c/p>\n\u003cp>On Sept. 21, A Thing To Talk About and \u003ca href=\"https://www.instagram.com/yourhomiesgram/\" target=\"_blank\" rel=\"noopener\">Your Homies\u003c/a> collective will host a concert with \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\" target=\"_blank\" rel=\"noopener\">Berkeley rapper LOE Gino\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13959495/shante-r-and-b-smile-east-oakland\" target=\"_blank\" rel=\"noopener\">East Oakland singer Shanté\u003c/a> and a handful of others at Oakland’s Cafe Lakeview.\u003c/p>\n\u003cp>Earlier this month, A Thing To Talk About dropped a pilot episode of \u003cem>Soundbites\u003c/em>. Formatted as a two-way discussion, the interviews pair musicians and spoken word artists with chefs who create meals based on the artists’ work.\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/9DpK8zIKojc'\n title='//www.youtube.com/embed/9DpK8zIKojc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By throwing these in-person events and creating content, A Thing To Talk About is creating much-needed connections for audience members and artists alike.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I want to provide a high-production platform,” says Wid. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> want to create a paid opportunity for people who are videographers and editors; I want people within our community to tag on to a project like this one.”\u003c/span>\u003c/p>\n\u003cp>For artists who are interested in getting involved, Rob and Wid suggest reaching out to them directly through their \u003ca href=\"https://www.instagram.com/athingtotalkabout\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> page. \u003cspan style=\"font-weight: 400\">“It’s an incubator for other individuals who might want to do something,” Woods says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it all boils down to it, Wid’s goal is a simple and relatable quest: “I just want to grow community.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Thing to Talk About presents speed dating at Fluid510 in Oakland on Sept. 14. \u003ca href=\"https://www.eventbrite.com/e/speed-dating-25-40-first-drink-free-tickets-949111747787\">Tickets and details here\u003c/a>. On Sept. 21, they team up with Your Homies for a concert featuring LOE Gino, Shanté and more at Cafe Lakeview. \u003ca href=\"https://www.whatstba.com/e/yourhomiesxoakland\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help",
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"content": "\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>[aside postID='news_11999092']\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp><a href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\"\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>[aside postID='arts_13960424']\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp><a href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\"\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cg3YtnDUYgk?si=fMQIQ61LW5adp-qL\u003c/p>\n\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” [aside postid='arts_13953430']\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\u003c/p>\n\u003cp>https://youtu.be/FjQfe3jdKz0?si=yZn7HgRkNX6a_Csa\u003c/p>\n\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/porteblindado/\">Porte Blindado\u003c/a> are locked in. At least three times a week, the four young musicians haul amps, guitars and an upright bass into a small warehouse tucked between window-tinting shops and mechanics’ garages in Deep East Oakland. This is where vocalist Andres “AR” Rosillo, guitarists Pedro “Peaz” Zamora and Jemmiel Moore and upright bassist Luis Hernandez come together to perfect their distinctly Bay Area take on Mexican regional music.\u003c/p>\n\u003cp>“I feel like growing up and being born in the Bay area, we talk a certain way, dress a certain way, so the norm is very different when you go play in a grupo and they see you show up in some T-shirts and sneakers, compared to the traditional sombrero and botas,” says Peaz, who’s sporting Jordans and an A’s hat with a braided rat tail sticking out. “Our version catches a lot of people off guard, like, ‘Who are these kids?’”\u003c/p>\n\u003cp>“But you are who you are at the end of the day,” he adds with a shrug. “Sometimes you gotta let the norm change with you.”\u003c/p>\n\u003cfigure id=\"attachment_13962831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PORTEBLINDADO_GC-19-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado practice in a warehouse space in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While high-drama corridos, brass-heavy banda and sierreño ballads have been in heavy rotation in Mexican American households for generations, a new crop of superstars — including Peso Pluma, Natanael Cano, Junior H and \u003ca href=\"https://www.kqed.org/arts/13957038/dannylux-regional-mexican-regency-ballroom-concert-review\">DannyLux\u003c/a> — have reimagined these styles for a younger generation and attracted a global following. Porte Blindado, whose members range from 19 to 23 years old, are following in the footsteps of California bands like Eslabon Armado and Fuerza Regida, who’ve helped bring regional Mexican music into the U.S. mainstream.\u003c/p>\n\u003cp>Before Fuerza Regida got big enough to headline arenas all over the U.S. and Mexico, they were a cover band gigging at private parties in their hometown of San Bernardino. That’s the stage where Porte Blindado currently find themselves: Putting out original material and playing their own shows while sustaining the band financially through quinceñeras, weddings and other privadas.\u003c/p>\n\u003cfigure id=\"attachment_13963281\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg\" alt=\"A close-up of a tattooed hand playing upright bass.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado’s bassist Luis Hernandez practices in Oakland on August 14, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Corridos are all about telling a good story, and although Porte Blindado have yet to release a debut album, they’ve built up momentum this year through a \u003ca href=\"https://open.spotify.com/artist/5cZT2KvkWM3z9GC4hMYPlX\">consistent stream of singles\u003c/a> that have a hard edge, with Spanish-language lyrics whose themes often overlap with Bay Area rap. The group’s songwriting is exhilarating on “\u003ca href=\"https://open.spotify.com/track/11WVcyBnWVAnO8u5kQueAg?si=bad08373211c483d\">Es Talento\u003c/a>,” where AR narrates a hair-raising tale of a cannabis warehouse robbery while Moore and Zamora shred on dueling guitars and Hernandez slaps his bass like his life depends on it. Their irreverent and supremely catchy track “\u003ca href=\"https://open.spotify.com/track/28O2oUxDMABNkm9D7GgblB?si=3e80fd1850e24a92\">Mi Madre Dice\u003c/a>” revels in the dark side of street life. Meanwhile, “\u003ca href=\"https://open.spotify.com/track/1kRDuMj6AabVs6L7e6GU5V?si=55f0acedaae340d0\">Gorrita de Fox\u003c/a>” is an anthem about showing out in style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cg3YtnDUYgk'\n title='//www.youtube.com/embed/cg3YtnDUYgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I feel like a lot of people can relate,” says AR. “We definitely write with that Bay Area vibe.”\u003c/p>\n\u003cp>The band members have a playful, brotherly camaraderie as they joke around and share curly fries before a recent rehearsal, but when they take out their instruments, they’re intensely focused. Like a lot of people who grew up in the multicultural Bay Area, they share an eclectic music taste, name-checking Atlanta trap star Lil Baby and San Francisco guitar god Carlos Santana as influences that push them to keep evolving.\u003c/p>\n\u003cp>“We got closer because of the music,” says bassist Hernandez, the youngest member and unofficial comedian of the group.\u003c/p>\n\u003cfigure id=\"attachment_13963282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240814_PorteBlindado_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Porte Blindado. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lead guitarist Moore, the only band member who isn’t Chicano, found his way to Mexican regional music from jazz and heavy metal. “One day in class, I had some friends come up to me like, ‘Hey, try this genre out.’ First I was like, ‘I don’t even know what they’re saying,’” he says.\u003c/p>\n\u003cp>Despite the language barrier, he fell in love with Mexican regional music and realized his perspective — and nimble solos honed by studying jazz scales — could actually become a strength. “Our style is different. That’s what makes us unique,” says Moore. “Especially for me, I like to try to implement different types of genres into my style.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the young regional Mexican music scene continues to grow in the Bay Area, Porte Blindado is collaborating with peers like Reyes Del Trono, who add a tuba bounce to their joint single “\u003ca href=\"https://open.spotify.com/track/2fcY0GqGUyQQkI46ftNKqO?si=b1562980a84e45d2\">Soy y Sere\u003c/a>.” (Reyes Del Trono recently did a live set at the Oakland Ballers’ first-ever Latine heritage night baseball game.) Another local band, Clave 77, recently joined Porte Blindado for the high-energy, guitar- and horn-forward duet “\u003ca href=\"https://open.spotify.com/track/1PYnwflk3YzGnc6tYKXulS?si=da8280354eb349a0\">Pura Calidad\u003c/a>.”\u003c/p>\n\u003cp>The members of Porte Blindado have an intuition for marketing, and a few of their \u003ca href=\"https://www.tiktok.com/@porteblindado\">TikToks\u003c/a> — including one of AR getting kicked out of a mall while playing “Mi Madre Dice” on guitar — have gone viral, helping them expand their following outside the Bay. Their next gig is at the banda festival \u003ca href=\"https://www.instagram.com/gentenueva.promotions/p/C-rFt2Zv6iw/?img_index=1\">Maniaco Fest\u003c/a> in Hollister, just south of Gilroy, on Aug. 30, and in September they plan on making a trip down south for a Los Angeles show.\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/FjQfe3jdKz0'\n title='//www.youtube.com/embed/FjQfe3jdKz0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>East Oakland is where it all started, though, and at a recent free show in Fruitvale put on by Communities United for Restorative Youth Justice, Porte Blindado got to feel the love from their hometown crowd. “Afterwards it was hella cool, all the kids were taking pictures with us,” AR recalls with a smile. “‘Oh, peace sign!’ We had to throw hella peace signs.”\u003c/p>\n\u003cp>It’s moments like those that remind Porte Blindado why they spend countless hours a week practicing. Why they carve out time between their day jobs of working construction and painting houses to perfect a craft that’s rooted in tradition but has forward motion, transcending cultures and generations.\u003c/p>\n\u003cp>“We have so much that we want to get done as a group,” says Peaz. “I feel like we’re hungry for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We just getting started,” adds AR. “Buckle up, because this gon’ be a ride.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-10-best-jazz-shows-in-the-bay-area-this-fall",
"title": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"headTitle": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"content": "\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n",
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"excerpt": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"title": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-2024-san-francisco-oakland-san-jose-bay-area-concert-guide",
"title": "Must-See Concerts in the Bay Area This Fall",
"publishDate": 1724684451,
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"headTitle": "Must-See Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n",
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"excerpt": "Charli XCX, SEVENTEEN, Kaytranada and Omar Apollo are on our list of artists not to miss. ",
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"title": "Must-See Concerts in the Bay Area This Fall | KQED",
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"headline": "Must-See Concerts in the Bay Area This Fall",
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"source": "Fall Guide 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13962545\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962545\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands gather in front of the Twin Peaks Stage as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. He returns to the Bay Area to headline Berkeley’s Greek Theatre on Halloween. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX fans may have declared 2024 \u003cem>Brat\u003c/em> summer, but since Bay Area weather stays nice through November — and Charli herself is playing San Francisco in October — the party is continuing well into fall.\u003c/p>\n\u003cp>Even if huge arena concerts aren’t your thing, there are plenty of other worthy shows in the autumn months: Smaller club gigs from up-and-coming acts, free outdoor concerts and a waterfront festival. Read on for must-see shows to add to your concert calendar.\u003c/p>\n\u003cfigure id=\"attachment_13962998\" class=\"wp-caption aligncenter\" style=\"max-width: 2399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg\" alt=\"\" width=\"2399\" height=\"1557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores.jpg 2399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1536x997.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-2048x1329.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/commodores-1920x1246.jpg 1920w\" sizes=\"(max-width: 2399px) 100vw, 2399px\">\u003cfigcaption class=\"wp-caption-text\">The Commodores. \u003ccite>(Courtesy Mare Island Dock of Bay Music Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://dockofbay.com/general-information/\">Dock of the Bay Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 2024\u003cbr>\n12:30-9:30 p.m.\u003cbr>\nMare Island Coal Sheds, Vallejo\u003cbr>\n$120+\u003c/em>\u003c/p>\n\u003cp>The Solano County waterfront, with its mix of natural and industrial terrain, makes for a special setting at Dock of the Bay. The music festival brings together original disco and funk acts like “\u003ca href=\"https://www.youtube.com/watch?v=GTR27qWXGqU\">Boogie Nights\u003c/a>” hitmakers Heatwave, who’ve been sampled by everyone from Michael Jackson to Timbaland and Missy Elliott. They perform alongside The Commodores, who gave us the timeless classic “\u003ca href=\"https://www.youtube.com/watch?v=KzOJaHHlIcQ\">Brick House\u003c/a>;” Average White Band of “\u003ca href=\"https://www.youtube.com/watch?v=3ISLeHByD-I\">Pick Up the Pieces\u003c/a>” fame; and Lenny Williams, the balladeer behind soul classic “\u003ca href=\"https://www.youtube.com/watch?v=QbzkwLWK-Ps\">Cause I Love You\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13962996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1704957347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Alfa (center) performs at Billboard En Vivo Featuring Wisin held at Oasis Wynwood as part of Billboard Latin Music Week on October 3, 2023 in Miami Beach, Florida. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sapcenter.com/events/detail/el-alfa\">El Alfa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 2024\u003cbr>\n8 p.m.\u003cbr>\nSAP Center, San Jose\u003cbr>\n$92+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no question that El Alfa is the king of Dominican dembow. With each \u003ca href=\"https://www.youtube.com/watch?v=j0KT4NTZNQo\">new release\u003c/a>, his raps seem to get more hyperactive, weirder and raunchier, with onomatopoeias and \u003ca href=\"https://www.youtube.com/watch?v=s5yRZOQ3EWI\">double entendres\u003c/a> in the pocket of uptempo, percussion-heavy, tropical beats. There’s a reason why Spanish-speaking artists from all over the Western hemisphere — Cardi B, Kali Uchis, Bad Bunny, Wisin & Yandel and Jowell & Randy — have turned to him to inject their tracks with manic energy. Expect nothing less when he arrives stateside for a headlining show at San Jose’s SAP Center.\u003c/p>\n\u003cfigure id=\"attachment_13962994\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/231211_PTM_Press_Selects_TIFF_CREDIT_maclay-heriot_1484_000007600007-1920x1398.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man. \u003ccite>(Maclay Heriot )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://laylo.com/anotherplanetentertainment/9-20-24\">Portugal. The Man\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Snacktime\u003cbr>\nSept. 20, 2024\u003cbr>\nCivic Center Plaza, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Continuing San Francisco’s streak of free concerts this year, Portugal. The Man brings their punchy, groove-laden rock to Civic Center Plaza, just outside of City Hall. The Portland band, best known for 2017’s inescapable “\u003ca href=\"https://www.youtube.com/watch?v=F09POwrBn-M\">Feel It Still\u003c/a>,” are currently touring in support of their catchy, psychedelic 2023 album \u003cem>Chris Black Changed My Life\u003c/em>. Philly brass band Snacktime will get the dance party started with their uptempo jazz funk.\u003c/p>\n\u003cfigure id=\"attachment_10618581\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10618581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg\" alt=\"\" width=\"1180\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SKMain-960x540.jpg 960w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">Sleater-Kinney at the Masonic, May 2, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4-6, 2024\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>With concert tickets more expensive than ever, a free major festival like Hardly Strictly is truly a gift. Alternative rockers \u003ca href=\"https://www.youtube.com/watch?v=vZA_7FtttRY\">Sleater-Kinney\u003c/a> are a huge draw at this year’s family-friendly event, which celebrates bluegrass, country, roots music and eclectic array of other genres in Golden Gate Park. Other standout acts include Nigerian-British electronic pop band \u003ca href=\"https://www.youtube.com/watch?v=AVCTy_Qqn5A\">Ibibio Sound Machine\u003c/a>, Ukrainian folk experimentalists \u003ca href=\"https://www.youtube.com/watch?v=AObDpJ6xQMk\">DakhaBrakha\u003c/a>, original bluesman Bobby Rush and powerhouse soul singer Mavis Staples.\u003c/p>\n\u003cfigure id=\"attachment_13962989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg\" alt=\"Omar Apollo smiles and looks out onto the crowd while holding a microphone and wearing sparkly black pants and a matching top. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1685867599-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Apollo performs at Life Is Beautiful on Sept. 23, 2023 in Las Vegas, Nevada. \u003ccite>(Christopher Polk/Billboard via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/omar-apollo-241004/\">Omar Apollo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Kevin Abstract\u003cbr>\nOct. 4, 2024\u003cbr>\n8 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>Tender, touching and at times snarky, Omar Apollo’s expansive pop music blends eclectic influences — folk and new wave, R&B and trap — into something shimmeringly beautiful. The singer-songwriter and guitarist’s latest album \u003ca href=\"https://www.youtube.com/watch?v=YTnuRqf5V5Y\">\u003ci>God Said No\u003c/i>\u003c/a> takes us on a ride through desire, pettiness, longing and other complicated emotions that arise during a breakup. Apollo will take the stage at Berkeley’s Greek Theatre with Brockhampton’s Kevin Abstract, another artist pushing queer expression forward.\u003c/p>\n\u003cfigure id=\"attachment_13956732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956732\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg\" alt=\"Blonde woman in black with bass guitar holds a small white dog\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2024_04_SHANNON_SHAW_00207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw, vocalist and bass guitarist of Shannon and the Clams, and her dog Spanky-Joe at a park in the greater Los Angeles area on April 25, 2024. \u003ccite>(Jules Hotz for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/shannon-and-the-clams-241019\">Shannon and the Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19, 2024\u003cbr>\n8 p.m.\u003cbr>\nFox Theater, Oakland\u003cbr>\n$43+\u003c/em>\u003c/p>\n\u003cp>With \u003ci>The Moon Is in the Wrong Place\u003c/i>, Oakland rockers \u003ca href=\"https://www.youtube.com/watch?v=dvo2yOFb7k0\">Shannon and the Clams\u003c/a> made an album about grief whose exuberance is an affirmation of love and life, written in the aftermath of frontwoman Shannon Shaw’s life-changing loss of her fiance, drummer Joe Haener. While grappling with the tragedy, the band transmuted restlessness, anger, sorrow and confusion into a high-energy blend of garage rock, country and psychedelia that’s made for the stage, especially a gorgeous room like the Fox.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://chasecenter.com/events/charli-xcx-and-troye-sivan-20241020\">Charli XCX & Troye Sivan\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Shygirl\u003cbr>\nOct. 20, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nChase Center, San Francisco\u003cbr>\n$196+\u003c/em>\u003c/p>\n\u003cp>Charli XCX is so hot this year, even Kamala Harris wants to ride her lime-green \u003ci>Brat\u003c/i> train to the White House. The U.K. pop star reconnected with her raver roots for her sixth studio album, and the result is a hedonistic yet profound listen that managed to explode into the mainstream while maintaining a solidly grimy, underground appeal. Shockingly honest tracks like “\u003ca href=\"https://www.youtube.com/watch?v=0q3K6FPzY18\">Girl, so confusing\u003c/a>” — where Charli and Lorde squashed their beef on record while elucidating how misogyny messes with women’s minds — lend the album its emotional depth. At the Chase Center, Charli will whisk fans away into her 4 a.m. fantasy with “One of Your Girls” hitmaker Troye Sivan and fellow club kid Shygirl.\u003c/p>\n\u003cfigure id=\"attachment_13919616\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Kaytranada-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kaytranada performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/kaytranada-241031\">Kaytranada\u003c/a>\u003c/h2>\n\u003cp>\u003cem>With Channel Tres and Lou Phelps\u003cbr>\nOct. 31, 2024\u003cbr>\n6:30 p.m.\u003cbr>\nGreek Theatre, Berkeley\u003cbr>\n$78+\u003c/em>\u003c/p>\n\u003cp>It’s a shame hip-house only went mainstream for a few years in the mid-’90s — rapping over uptempo club beats just makes sense. Fortunately, Kaytranada and Channel Tres have revived the sound for a new generation. Hot off his new \u003ci>TIMELESS\u003c/i> album (and an extremely lit \u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">Outside Lands\u003c/a> appearance), Kaytranada will spin groove-laden beats that feature some of today’s brightest pop, R&B and rap talents, including \u003ca href=\"https://www.youtube.com/watch?v=vAOzFvVz718\">PinkPantheress\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=kQC0S0VYoio\">Tinashe\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=EqfnKrbMZ5w\">Don Toliver\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ijP_r0f-Mds\">Lou Phelps\u003c/a>, the latter of whom is opening the show. “Top Down” rapper Channel Tres promises a live set of dance-floor ready anthems. If you’re trying to turn up on Halloween, this is the place to be.\u003c/p>\n\u003cfigure id=\"attachment_13962992\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962992\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg\" alt=\"A large boy band runs down a stage wearing complementary tweed suits. \" width=\"2000\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1536x1003.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1487414153-1920x1254.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dokyeom, Seungkwan and Hoshi of k-pop boy group SEVENTEEN perform during the 12th Circle Chart Music Awards at the KSPO Dome on February 18, 2023 in Seoul, South Korea. \u003ccite>(The Chosunilbo JNS/Imazins via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.theoaklandarena.com/events/detail/seventeen-right-here-world-tour-in-us\">Seventeen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 5 and 6, 2024\u003cbr>\n7:30 p.m.\u003cbr>\nOakland Arena, Oakland\u003cbr>\n$119+\u003c/em>\u003c/p>\n\u003cp>K-pop band Seventeen is a powerhouse. The thirteen-member squad is incredibly versatile: They write and produce much of their own music, and choreograph big, epic live performances that have earned them legions of fans from China to the U.S. Sonically, they have range, too: standout tracks include the vibe-y and mystical R&B track “\u003ca href=\"https://www.youtube.com/watch?v=gbLkxltoD9o\">Spell\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=ThI0pBAbFnk\">Maestro\u003c/a>,” which showcases their hip-hop influence with a futuristic spin. Expect high-energy dance moves and otherworldly visuals two nights in a row at Oakland Arena.\u003c/p>\n\u003cfigure id=\"attachment_13963159\" class=\"wp-caption aligncenter\" style=\"max-width: 2165px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg\" alt=\"\" width=\"2165\" height=\"1443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag.jpg 2165w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dbboutabag-1920x1280.jpg 1920w\" sizes=\"(max-width: 2165px) 100vw, 2165px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag in his music video for ‘Loss as Lessons.’ \u003ccite>(DB.Boutabag on YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/db-boutabag-with-k-flex/\">DB.Boutabag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 8, 2024\u003cbr>\n8 p.m.\u003cbr>\nThe New Parish, Oakland\u003cbr>\n$30+\u003c/em>\u003c/p>\n\u003cp>The Bay has produced plenty of hip-hop greats, but some of the hottest young rappers out of Northern California currently hail from Stockton and Sacramento. South Sac’s \u003ca href=\"https://www.youtube.com/watch?v=krbGYUEBIFA\">DB.Boutabag\u003c/a> is one of the leaders of that Central Valley scene, and his deadpan punchlines, gems of wisdom and ruthless roasts of his rivals have attracted an avid fan base that raps along bar for bar at his shows, from Salt Lake City to Boise to Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13962991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg\" alt=\"\" width=\"2000\" height=\"1504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1536x1155.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2158815298-1920x1444.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Latto performs onstage during Hot 107.9 Birthday Bash 2024 at State Farm Arena on June 22, 2024 in Atlanta, Georgia. \u003ccite>(Prince Williams/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/latto-241129/\">Latto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 29, 2024\u003c/em>\u003cbr>\n\u003cem>7:30 p.m.\u003c/em>\u003cbr>\n\u003cem>Bill Graham Civic Auditorium, San Francisco\u003c/em>\u003cbr>\n\u003cem>$83+\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to Gen Z rappers dominating the charts, Atlanta’s Latto is definitely on the short list. After 2022’s roller disco-ready “\u003ca href=\"https://www.youtube.com/watch?v=T8GpG8C0YzA\">Big Energy\u003c/a>,” she followed up with 2023’s thrillingly aggressive diss track “\u003ca href=\"https://www.youtube.com/watch?v=-WtNCR3EDS4\">Put It On the Floor\u003c/a>” and this year’s “\u003ca href=\"https://www.youtube.com/watch?v=skTA4ZkRlyQ\">Sunday Service\u003c/a>,” a cocky and laid-back cruising anthem that got a remix from hot girl-in-chief Megan Thee Stallion and fellow rising star Flo Milli. Yes, she puts her sex appeal out there, and behind her provocative image is a careful attention to craft in the booth and on the stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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