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"content": "\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Hispanic Heritage Month kicked off at San Francisco's Civic Center in a vibrant, colorful celebration. ",
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"title": "PHOTOS: El Grito de Independencia de México in San Francisco | KQED",
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"headline": "PHOTOS: El Grito de Independencia de México in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "k-pop-fans-election-voting-g-idle-oakland-neverland",
"title": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season",
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"headTitle": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>On Sunday, hours ahead of (G)I-DLE’s show at the Oakland Arena, fans lined up to exchange concert-related trinkets and photocards, take selfies with each other and practice their dance moves.\u003c/p>\n\u003cp>The five-member girl group — Soyeon, Miyeon, Minnie, Yuqi and Shuhua — has performed in the Bay Area before, but their 2024 I-DOL World Tour stop in Oakland marked their largest Bay Area concert to date.\u003c/p>\n\u003cfigure id=\"attachment_13964020\" class=\"wp-caption aligncenter\" style=\"max-width: 1550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg\" alt=\"\" width=\"1550\" height=\"2000\" class=\"size-full wp-image-13964020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg 1550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-800x1032.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1020x1316.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1190x1536.jpg 1190w\" sizes=\"(max-width: 1550px) 100vw, 1550px\">\u003cfigcaption class=\"wp-caption-text\">Dabs Estanislao holds up a flag of (G)I-DLE member Miyeon at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the most part, K-pop is largely about escapism and creating community, and less about the political concerns of the real world. Still, \u003ca href=\"https://www.theguardian.com/music/2020/jun/24/how-us-k-pop-fans-became-a-political-force-to-be-reckoned-with-blm-donald-trump\">K-pop fans can be famously organized\u003c/a> in election years. \u003c/p>\n\u003cp>We caught up with members of (G)I-DLE’s fandom, known as NEVERLAND, to ask how they got into the K-pop group and how they’re feeling ahead of the election. \u003c/p>\n\u003cfigure id=\"attachment_13964015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nina Soto, Yoana Navarrete Santos, Julissa Sosa, Alondra Sosa and Yosselin Sandoval, pose for a photo, wearing blue wigs from the (G)I-DLE music video “Wife” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alondra Sosa of Manteca said she’s been keeping up with politics this election year, and has a pretty good idea of who she wants to vote for — though she didn’t feel comfortable naming a candidate. “I just wish more people would go out and vote,” she said. For the concert, she and her friends all dressed in blue wigs and white T-shirts, just like (G)I-DLE in their popular music video for their song “Wife.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nina Soto, one of Sosa’s friends in a blue wig, said what worried her most this election cycle was how people communicate — or don’t communicate — with one another. “The overall thing that concerns us as a nation at the moment is how we’re going to move forward and actually listen to each other,” she said. “We’re fighting each other, not listening. And I think that’s a big issue: not listening.” \u003c/p>\n\u003cfigure id=\"attachment_13964022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1241\" class=\"size-full wp-image-13964022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1536x953.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1920x1191.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Lim holds up a photo of (G)I-DLE member Soyeon from the music video “Allergy” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane Lim, a dedicated 19-year-old NEVERLAND from San Lorenzo, said he was curious how the election would turn out. Lim, a fan of (G)I-DLE since 2021, had recreated one of Soyeon’s iconic outfits from (G)I-DLE’s “Allergy” music video for the concert. He said there weren’t any specific issues he was concerned about this election cycle, but he definitely had an idea of who he hoped would pull ahead in the polls. “I hope Kamala wins, in all honesty,” Lim said. \u003c/p>\n\u003cfigure id=\"attachment_13964021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1246\" class=\"size-full wp-image-13964021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1536x957.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1920x1196.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsay Gomez, left, and Katherine Martinez, 16, right, hold up signs for the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Harris was the candidate of interest for first-time Marin County voter Lindsay Gomez, too. “I just turned 18 this year, so I’m like, kind of excited to vote,” she said. “I need to learn more, but I think I might go towards Kamala. I kind of hope she does win, because [the] first female president… that would be really cool for us.” 16-year-old Katherine Martinez, who joined Gomez for the concert, nodded in agreement. \u003c/p>\n\u003cp>This year will not only be Gomez’s first time voting, it will be her mom’s first time voting, too. As for election-year concerns, Gomez said she found herself thinking about the logistics of being able to vote in California. “I’m just hoping my registration went through,” she said. She and her mom are already making plans for Election Day. “We’re both going [to vote] together I think, and I hope that everything works out.” \u003c/p>\n\u003cfigure id=\"attachment_13964024\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Evan Villaflor, Martin Villafuerte and Francis Nario wear queen card costumes, after the song Queencard by (G)I-DLE concert, at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin Villafuerte, dressed in a queen of hearts playing card costume in homage to (G)I-DLE’s popular song “Queencard,” drove nearly two hours from Patterson with friends to see the girl group perform. Villafuerte said he was “not super confident” going into the election, “but that’s how it is every election.” \u003c/p>\n\u003cfigure id=\"attachment_13964018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Perez wears a Yuqi graphic tee ahead of the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Angel Perez, a San Jose resident, expressed similar sentiments. Perez, dressed in a custom T-shirt with images of Yuqi, his favorite member (known as a “bias” in K-pop culture) on it, got into K-pop just three months ago when he happened to tap play on a YouTube-generated playlist. His interest in (G)I-DLE has grown over time, but as far as politics goes, “I’m not really following the election like that,” Perez said. He noted he was slightly concerned about the levels of crime happening in his community, but when it comes to voting outcomes, “I just hope for the best,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13964019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1266\" class=\"size-full wp-image-13964019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1920x1215.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mahal Bilaoen and friends hold up handmade crocheted photo holders with (G)I-DLE’s members at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Outside (G)I-DLE's show at the Oakland Arena, fans discussed Kamala, voting rights and bridging the divide.",
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"title": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>On Sunday, hours ahead of (G)I-DLE’s show at the Oakland Arena, fans lined up to exchange concert-related trinkets and photocards, take selfies with each other and practice their dance moves.\u003c/p>\n\u003cp>The five-member girl group — Soyeon, Miyeon, Minnie, Yuqi and Shuhua — has performed in the Bay Area before, but their 2024 I-DOL World Tour stop in Oakland marked their largest Bay Area concert to date.\u003c/p>\n\u003cfigure id=\"attachment_13964020\" class=\"wp-caption aligncenter\" style=\"max-width: 1550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg\" alt=\"\" width=\"1550\" height=\"2000\" class=\"size-full wp-image-13964020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg 1550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-800x1032.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1020x1316.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1190x1536.jpg 1190w\" sizes=\"(max-width: 1550px) 100vw, 1550px\">\u003cfigcaption class=\"wp-caption-text\">Dabs Estanislao holds up a flag of (G)I-DLE member Miyeon at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the most part, K-pop is largely about escapism and creating community, and less about the political concerns of the real world. Still, \u003ca href=\"https://www.theguardian.com/music/2020/jun/24/how-us-k-pop-fans-became-a-political-force-to-be-reckoned-with-blm-donald-trump\">K-pop fans can be famously organized\u003c/a> in election years. \u003c/p>\n\u003cp>We caught up with members of (G)I-DLE’s fandom, known as NEVERLAND, to ask how they got into the K-pop group and how they’re feeling ahead of the election. \u003c/p>\n\u003cfigure id=\"attachment_13964015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nina Soto, Yoana Navarrete Santos, Julissa Sosa, Alondra Sosa and Yosselin Sandoval, pose for a photo, wearing blue wigs from the (G)I-DLE music video “Wife” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alondra Sosa of Manteca said she’s been keeping up with politics this election year, and has a pretty good idea of who she wants to vote for — though she didn’t feel comfortable naming a candidate. “I just wish more people would go out and vote,” she said. For the concert, she and her friends all dressed in blue wigs and white T-shirts, just like (G)I-DLE in their popular music video for their song “Wife.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Soto, one of Sosa’s friends in a blue wig, said what worried her most this election cycle was how people communicate — or don’t communicate — with one another. “The overall thing that concerns us as a nation at the moment is how we’re going to move forward and actually listen to each other,” she said. “We’re fighting each other, not listening. And I think that’s a big issue: not listening.” \u003c/p>\n\u003cfigure id=\"attachment_13964022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1241\" class=\"size-full wp-image-13964022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1536x953.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1920x1191.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Lim holds up a photo of (G)I-DLE member Soyeon from the music video “Allergy” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane Lim, a dedicated 19-year-old NEVERLAND from San Lorenzo, said he was curious how the election would turn out. Lim, a fan of (G)I-DLE since 2021, had recreated one of Soyeon’s iconic outfits from (G)I-DLE’s “Allergy” music video for the concert. He said there weren’t any specific issues he was concerned about this election cycle, but he definitely had an idea of who he hoped would pull ahead in the polls. “I hope Kamala wins, in all honesty,” Lim said. \u003c/p>\n\u003cfigure id=\"attachment_13964021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1246\" class=\"size-full wp-image-13964021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1536x957.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1920x1196.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsay Gomez, left, and Katherine Martinez, 16, right, hold up signs for the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Harris was the candidate of interest for first-time Marin County voter Lindsay Gomez, too. “I just turned 18 this year, so I’m like, kind of excited to vote,” she said. “I need to learn more, but I think I might go towards Kamala. I kind of hope she does win, because [the] first female president… that would be really cool for us.” 16-year-old Katherine Martinez, who joined Gomez for the concert, nodded in agreement. \u003c/p>\n\u003cp>This year will not only be Gomez’s first time voting, it will be her mom’s first time voting, too. As for election-year concerns, Gomez said she found herself thinking about the logistics of being able to vote in California. “I’m just hoping my registration went through,” she said. She and her mom are already making plans for Election Day. “We’re both going [to vote] together I think, and I hope that everything works out.” \u003c/p>\n\u003cfigure id=\"attachment_13964024\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Evan Villaflor, Martin Villafuerte and Francis Nario wear queen card costumes, after the song Queencard by (G)I-DLE concert, at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin Villafuerte, dressed in a queen of hearts playing card costume in homage to (G)I-DLE’s popular song “Queencard,” drove nearly two hours from Patterson with friends to see the girl group perform. Villafuerte said he was “not super confident” going into the election, “but that’s how it is every election.” \u003c/p>\n\u003cfigure id=\"attachment_13964018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Perez wears a Yuqi graphic tee ahead of the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Angel Perez, a San Jose resident, expressed similar sentiments. Perez, dressed in a custom T-shirt with images of Yuqi, his favorite member (known as a “bias” in K-pop culture) on it, got into K-pop just three months ago when he happened to tap play on a YouTube-generated playlist. His interest in (G)I-DLE has grown over time, but as far as politics goes, “I’m not really following the election like that,” Perez said. He noted he was slightly concerned about the levels of crime happening in his community, but when it comes to voting outcomes, “I just hope for the best,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13964019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1266\" class=\"size-full wp-image-13964019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1920x1215.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mahal Bilaoen and friends hold up handmade crocheted photo holders with (G)I-DLE’s members at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "hispanic-heritage-month-events-in-the-bay-area",
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"content": "\u003cp>September has arrived, kicking off annual celebrations for Hispanic Heritage Month (Sept. 15–Oct. 15) commemorating the independence days of various Latin American countries. \u003c/p>\n\u003cp>Often billed as Fiestas Patrias, the community events typically feature musical and dance performances along with food and merchandise vendors. \u003c/p>\n\u003cp>This year, organizers in Richmond and San Pablo have teamed up for a parade stretching through both East Bay cities. In San Francisco, members of the Mexican diaspora will gather in front of City Hall for the annual El Grito celebration that commemorates the historic call for independence. \u003c/p>\n\u003cp>Here is a sampling of events throughout the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13964065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at El Grito de Independencia de México in 2023, located in San Francisco’s Civic Center Plaza. \u003ccite>(El Grito SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://elgritosf.com/en/home/\">Grito de Independencia de México\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 4–9 p.m.\u003cbr>\nWHERE: Civic Center Plaza, 335 McAllister St., San Francisco\u003cbr>\nWHAT: Activities, music, mariachi, ballet folklórico performances, lucha libre, a night market and food. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Fiestas Patrias Redwood City\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 3–8 p.m.\u003cbr>\nWHERE: Courthouse Square, 2200 Broadway, Redwood City\u003cbr>\nWHAT: Live music and entertainment, authentic Mexican food, arts and crafts vendors, and a traditional flag ceremony conducted by Consul General de Mexico. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://solanoaidscoalition.org/calendar\">Fiestas Patrias in Vallejo\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.–5 p.m.\u003cbr>\nWHERE: 200 block of Georgia St., Vallejo\u003cbr>\nWHAT: Celebration of Mexican Independence Day and the independence of other Latin American countries. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity\">Richmond and San Pablo Latin American Independence Day Parade\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.\u003cbr>\nWHERE: The parade route will start from the intersection of 23rd Street and Barrett Avenue in Richmond, and proceed north along 23rd Street to San Pablo Avenue in San Pablo.\u003cbr>\nWHAT: A celebration to honor the diverse Latin American communities of both cities, bringing together residents of all backgrounds.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-24/\">Fiesta de Independencia\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–7 p.m.\u003cbr>\nWHERE: Luther Burbank Center for the Arts, 24 Mark West Springs Road, Santa Rosa\u003cbr>\nWHAT: Sonoma County’s largest Hispanic Heritage Month festival, with music, food, games, ballet folklórico, mariachi, a lowrider car show and more. Free.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.comitedefiestaspatrias.org/\">Mexican Independence Day Celebration\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–9 p.m.\u003cbr>\nWHERE: San Jose City Hall, 200 E. Santa Clara St., San Jose\u003cbr>\nWHAT: Food, crafts, live music, and other performances celebrating Mexican culture and traditions. El Grito, a reenactment of Mexico’s historic call for independence, is scheduled to perform at 7:30 p.m. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://unitycouncil.org/festival-latino/\">Festival Latino\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, Noon–5 p.m.\u003cbr>\nWHERE: Todos Santos Plaza, 2175 Willow Pass Road, Concord\u003cbr>\nWHAT: Unity Council’s 3rd Annual Festival Latino is a free, outdoor festival featuring live music, games, ballet folklórico and Latin American artisans. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/afro-latinx-festival-iii-tickets-991387565897\">Afro Latinx Concert Series Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 21, Oct. 5 and Oct. 12\u003cbr>\nWHERE: Ruth Williams Opera House, 4705 3rd St., San Francisco\u003cbr>\nWHAT: A celebration of Afro-Latinx culture and music consisting of three concerts, hosted by Gina Madrid. The artist lineup includes Chuchito Valdés, La Dame Blanche, Oscar Ly and Rumbalu, and DJ Leydis. Tickets range in price from $18–$75 along with a “pay what you want” option. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/join-us-latinx-engineering-day\">Latinx+ Engineering Day at the Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 28, 10 a.m.–5 p.m.\u003cbr>\nWHERE: The Exploratorium, Pier 15, San Francisco\u003cbr>\nWHAT: Visitors of all ages are invited to explore science, technology, engineering, and mathematics while learning about diverse pathways into STEM careers. The event will include interactive activities, hands-on exhibits, and a panel of professionals working in STEM fields.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ticketon.com/en/event/gran-festival-viva-nicaragua-newark-ca-2024-09-22-zrq744wuntzv\">Viva Nicaragua Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 29, 10:30 a.m.\u003cbr>\nWHERE: Swiss Park, 5911 Mowry Ave., Newark\u003cbr>\nWHAT: An afternoon of tradition, culture, and music. Performers include La Cuneta, Carlos Mejia Godoy, Banda Blanca and Marimba Flor de Pino. Tickets are $30 for ages 10 and up. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September has arrived, kicking off annual celebrations for Hispanic Heritage Month (Sept. 15–Oct. 15) commemorating the independence days of various Latin American countries. \u003c/p>\n\u003cp>Often billed as Fiestas Patrias, the community events typically feature musical and dance performances along with food and merchandise vendors. \u003c/p>\n\u003cp>This year, organizers in Richmond and San Pablo have teamed up for a parade stretching through both East Bay cities. In San Francisco, members of the Mexican diaspora will gather in front of City Hall for the annual El Grito celebration that commemorates the historic call for independence. \u003c/p>\n\u003cp>Here is a sampling of events throughout the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13964065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at El Grito de Independencia de México in 2023, located in San Francisco’s Civic Center Plaza. \u003ccite>(El Grito SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://elgritosf.com/en/home/\">Grito de Independencia de México\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 4–9 p.m.\u003cbr>\nWHERE: Civic Center Plaza, 335 McAllister St., San Francisco\u003cbr>\nWHAT: Activities, music, mariachi, ballet folklórico performances, lucha libre, a night market and food. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Fiestas Patrias Redwood City\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 3–8 p.m.\u003cbr>\nWHERE: Courthouse Square, 2200 Broadway, Redwood City\u003cbr>\nWHAT: Live music and entertainment, authentic Mexican food, arts and crafts vendors, and a traditional flag ceremony conducted by Consul General de Mexico. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://solanoaidscoalition.org/calendar\">Fiestas Patrias in Vallejo\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.–5 p.m.\u003cbr>\nWHERE: 200 block of Georgia St., Vallejo\u003cbr>\nWHAT: Celebration of Mexican Independence Day and the independence of other Latin American countries. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity\">Richmond and San Pablo Latin American Independence Day Parade\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.\u003cbr>\nWHERE: The parade route will start from the intersection of 23rd Street and Barrett Avenue in Richmond, and proceed north along 23rd Street to San Pablo Avenue in San Pablo.\u003cbr>\nWHAT: A celebration to honor the diverse Latin American communities of both cities, bringing together residents of all backgrounds.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-24/\">Fiesta de Independencia\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–7 p.m.\u003cbr>\nWHERE: Luther Burbank Center for the Arts, 24 Mark West Springs Road, Santa Rosa\u003cbr>\nWHAT: Sonoma County’s largest Hispanic Heritage Month festival, with music, food, games, ballet folklórico, mariachi, a lowrider car show and more. Free.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.comitedefiestaspatrias.org/\">Mexican Independence Day Celebration\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–9 p.m.\u003cbr>\nWHERE: San Jose City Hall, 200 E. Santa Clara St., San Jose\u003cbr>\nWHAT: Food, crafts, live music, and other performances celebrating Mexican culture and traditions. El Grito, a reenactment of Mexico’s historic call for independence, is scheduled to perform at 7:30 p.m. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://unitycouncil.org/festival-latino/\">Festival Latino\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, Noon–5 p.m.\u003cbr>\nWHERE: Todos Santos Plaza, 2175 Willow Pass Road, Concord\u003cbr>\nWHAT: Unity Council’s 3rd Annual Festival Latino is a free, outdoor festival featuring live music, games, ballet folklórico and Latin American artisans. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/afro-latinx-festival-iii-tickets-991387565897\">Afro Latinx Concert Series Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 21, Oct. 5 and Oct. 12\u003cbr>\nWHERE: Ruth Williams Opera House, 4705 3rd St., San Francisco\u003cbr>\nWHAT: A celebration of Afro-Latinx culture and music consisting of three concerts, hosted by Gina Madrid. The artist lineup includes Chuchito Valdés, La Dame Blanche, Oscar Ly and Rumbalu, and DJ Leydis. Tickets range in price from $18–$75 along with a “pay what you want” option. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/join-us-latinx-engineering-day\">Latinx+ Engineering Day at the Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 28, 10 a.m.–5 p.m.\u003cbr>\nWHERE: The Exploratorium, Pier 15, San Francisco\u003cbr>\nWHAT: Visitors of all ages are invited to explore science, technology, engineering, and mathematics while learning about diverse pathways into STEM careers. The event will include interactive activities, hands-on exhibits, and a panel of professionals working in STEM fields.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ticketon.com/en/event/gran-festival-viva-nicaragua-newark-ca-2024-09-22-zrq744wuntzv\">Viva Nicaragua Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 29, 10:30 a.m.\u003cbr>\nWHERE: Swiss Park, 5911 Mowry Ave., Newark\u003cbr>\nWHAT: An afternoon of tradition, culture, and music. Performers include La Cuneta, Carlos Mejia Godoy, Banda Blanca and Marimba Flor de Pino. Tickets are $30 for ages 10 and up. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"headline": "What Do Taylor Swift Fans Expect From Her in This Election?",
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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": "ica-san-francisco-contemporary-art-museum-trump-financial-district",
"title": "San Francisco Art Museum to Move Into Building Co-Owned by Trump",
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"headTitle": "San Francisco Art Museum to Move Into Building Co-Owned by Trump | KQED",
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"content": "\u003cp>The \u003ca href=\"https://www.icasf.org/\">Institute of Contemporary Art San Francisco\u003c/a> announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.\u003c/p>\n\u003cp>The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization \u003ca href=\"https://www.trump.com/commercial-real-estate-portfolio/555-california-street\">describes in its list of holdings\u003c/a> as an “iconic business address towering over San Francisco.” The Trump Organization \u003ca href=\"https://www.sfchronicle.com/realestate/article/trump-sell-s-f-tower-19363646.php\">reportedly holds a 30% ownership share\u003c/a> of the property.\u003c/p>\n\u003cp>Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”\u003c/p>\n\u003cp>Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.\u003c/p>\n\u003cp>The ICA’s future home, “\u003ca href=\"https://www.cbre.com/properties/properties-for-lease/office/details/US-SMPL-54744/the-cube-345-montgomery-street-san-francisco-ca-94104\">The Cube\u003c/a>,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The non-collecting institution will \u003ca href=\"https://sfstandard.com/2024/08/30/institute-of-contemporary-art-san-francisco-relocates-downtown/\">reopen on two floors of the five-story, 73,000-square-foot building\u003c/a> on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The ICA San Francisco will move into a new, rent-free space at 345 Montgomery St. in the Financial District.",
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"title": "San Francisco Art Museum to Move Into Building Co-Owned by Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.icasf.org/\">Institute of Contemporary Art San Francisco\u003c/a> announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.\u003c/p>\n\u003cp>The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization \u003ca href=\"https://www.trump.com/commercial-real-estate-portfolio/555-california-street\">describes in its list of holdings\u003c/a> as an “iconic business address towering over San Francisco.” The Trump Organization \u003ca href=\"https://www.sfchronicle.com/realestate/article/trump-sell-s-f-tower-19363646.php\">reportedly holds a 30% ownership share\u003c/a> of the property.\u003c/p>\n\u003cp>Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”\u003c/p>\n\u003cp>Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.\u003c/p>\n\u003cp>The ICA’s future home, “\u003ca href=\"https://www.cbre.com/properties/properties-for-lease/office/details/US-SMPL-54744/the-cube-345-montgomery-street-san-francisco-ca-94104\">The Cube\u003c/a>,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The non-collecting institution will \u003ca href=\"https://sfstandard.com/2024/08/30/institute-of-contemporary-art-san-francisco-relocates-downtown/\">reopen on two floors of the five-story, 73,000-square-foot building\u003c/a> on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\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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"slug": "swifties-for-kamala-harris-trump-taylor-swift-fans",
"title": "‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help",
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"headTitle": "‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help | KQED",
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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>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>\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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"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",
"description": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"headline": "The 10 Best Jazz Shows in the Bay Area This Fall",
"datePublished": "2024-08-27T08:00:33-07:00",
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"source": "Fall Guide 2024",
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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": "best-plays-musicals-bay-area-fall-2024-guide",
"title": "The Best Plays and Musicals to See This Fall in the Bay Area",
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"content": "\u003cp>This past July is officially on record as the hottest California month in decades. And while cooler temperatures will be ushered into the Bay Area soon, theater companies are hoping that local stages continue to stay hot well into the fall.\u003c/p>\n\u003cp>Companies are also gearing up to showcase their most artistic selves while continuing to find creative ways to achieve and maintain financial solvency. Here are 10 terrific shows from Labor Day to Thanksgiving one can start with to help support Bay Area theater companies.\u003c/p>\n\u003cfigure id=\"attachment_13963219\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg\" alt=\"\" width=\"1920\" height=\"1301\" class=\"size-full wp-image-13963219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1536x1041.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón and Hugo E. Carbajal in ‘Private Lives.’ \u003ccite>(Tim Fuller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Private Lives\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nSept. 12–Oct. 6, 2024\u003c/em>\u003c/p>\n\u003cp>Loathsome couple Elyot and Amanda aren’t looking for a reunion when they embark on a French vacation with new spouses. Yet the pull of their prior passions proves to be too much to resist, and a humor-filled comedy of manners ensues, rich with Noël Coward’s exquisite use of prose. A reunion of sorts from an acclaimed bilingual production of \u003cem>Romeo and Juliet\u003c/em> at Cal Shakes in 2022, multiple cast members now move to American Conservatory Theater’s Toni Rembe Theater to be directed by KJ Sanchez. The play’s original setting of France, meanwhile, is swapped out for Argentina, where an exotic and sensual tango informs Coward’s narrative.\u003c/p>\n\u003cfigure id=\"attachment_13963072\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg\" alt=\"\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13963072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">After serving as artistic director of the Peninsula’s Pear Theatre since early 2020, Sinjin Jones is entering his final season helming the company, kicking off the 2024 campaign directing the musical ‘Once on This Island.’ \u003ccite>(Courtesy Sinjin Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/\">Once on This Island\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre, Palo Alto\u003cbr>\nSept. 13–Oct. 13, 2024\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of a young Black peasant girl and the love she finds with a mixed-race aristocrat in Haiti is the basis for this one-act musical. While the show itself carries a history of consequential productions, its significance as the kickoff for The Pear Theatre season is tinted with an impending loss. Sinjin Jones, who took over as artistic director of the Palo Alto company in early 2020, will leave at the end of the 2025 season. Jones has played a vital role in leading the company through the pandemic, all while revitalizing the 22-year-old theater troupe by promoting diversity and equity in addition to strengthening the company’s educational and community programs.\u003c/p>\n\u003cfigure id=\"attachment_13963071\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg\" alt=\"\" width=\"1600\" height=\"1103\" class=\"size-full wp-image-13963071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1536x1059.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marie (Dominique Thorne) observes the wedding dress of Jaja (Somi Kakoma) in the Broadway production of ‘Jaja’s African Hair Braiding,’ heading to Berkeley this fall.\u003cbr> \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://www.berkeleyrep.org/shows/jaja-s-african-hair-braiding/\">Jaja’s African Hair Braiding\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003cbr>\nNov. 8–Dec. 15, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Jocelyn Bioh is no stranger to Berkeley Rep, having premiered the musical \u003cem>Goddess\u003c/em> there in 2022. Her next visit to the East Bay is with Broadway’s sleeper hit of last fall, \u003cem>Jaja’s African Hair Braiding\u003c/em>, with Whitney White returning to the director’s chair in this co-production with Arena Stage and Chicago Shakespeare Theater. Bioh’s play is an exercise in joy with serious themes about immigration and access to the American dream, all fused with a scorching Afrobeat soundtrack of the genre’s biggest stars. The play also features one of the coolest stage effects in recent memory throughout the entire show, culminating in some true theater magic at the end.\u003c/p>\n\u003cfigure id=\"attachment_13963070\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg\" alt=\"\" width=\"1600\" height=\"1065\" class=\"size-full wp-image-13963070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1536x1022.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley artistic director Giovanna Sardelli and Pulitzer-finalist playwright Rajiv Joseph have developed a long collaboration over the years. Joseph’s play ‘King James’ kicks of TheatreWorks’s 54th season. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://theatreworks.org/mainstage/king-james/\">King James\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nOct. 9–Nov. 3, 2024\u003c/em>\u003c/p>\n\u003cp>After the rousing success of the United States men’s national basketball team, capped by a thrilling finish and a gold medal, there’s no better time to dive into this story of two friends who enter into an unexpected connection. These men, whose fortunes run through the early, prodigious career of Lebron James, are the creation of Pulitzer-finalist playwright Rajiv Joseph. TheatreWorks’ artistic director Giovanna Sardelli, a frequent collaborator of Joseph, kicks off the company’s 54th season directing this tale of hoops and hopes.\u003c/p>\n\u003cfigure id=\"attachment_13963069\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg\" alt=\"\" width=\"1600\" height=\"1035\" class=\"size-full wp-image-13963069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1536x994.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The New Conservatory Theatre Center cast of ‘Ride the Cyclone,’ a show described as ‘weird and wondrous.’\u003cbr> \u003ccite>(New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>New Conservatory Theatre Center, San Francisco\u003cbr>\nSept. 20–Oct. 20, 2024\u003c/em>\u003c/p>\n\u003cp>This grizzled and gritty musical follows a Canadian school choir group who perish on the Cyclone roller coaster — but, while in limbo, are offered a chance to return to life via a mechanical fortune teller. The piece has had a bit of a zany history since its 2008 premiere, created by Jacob Richmond and Brooke Maxwell. The musical’s success reached something of a zenith in 2022 – on TikTok, millions of Gen Z users began diving deep into \u003cem>Ride the Cyclone\u003c/em> songs, stories and lore. The musical is dark, but also quite fun, and its regional premiere gives the Bay Area a chance to see what the hype is all about.\u003c/p>\n\u003cfigure id=\"attachment_13963068\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg\" alt=\"\" width=\"1020\" height=\"679\" class=\"size-full wp-image-13963068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob, seen here during the Marin Theatre Company production of ‘Dragon Lady’ in November of 2023, weaves a captivating tale of her grandmother’s perilous journey from Manila to the United States. Porkalob’s one-person show makes a return to the Bay Area via Walnut Creek at Center Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lesherartscenter.org/programs/center-repertory-company\">Dragon Lady\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Center Repertory Company, Walnut Creek\u003cbr>\nOct. 27–Nov. 24, 2024\u003c/em>\u003c/p>\n\u003cp>Seattle’s Sara Porkalob is a piercing, shooting star, tackling the theater world on her own terms, and her trilogy of plays that chronicle the women in her life are produced all over the country. For those who missed her \u003ca href=\"https://www.kqed.org/arts/13938714/powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch\">critically acclaimed run\u003c/a> in Marin last fall of \u003cem>Dragon Lady\u003c/em>, where she morphs into multiple characters while showcasing her buttery singing voice, a second chance in Walnut Creek is a gift. Presented in association with Marin Theatre Company, Porkalob’s one-person show about her grandmother’s perilous and painful journey from Manila to the United States is a masterclass in how to command a theater space with splash and panache.\u003c/p>\n\u003cfigure id=\"attachment_13963076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg\" alt=\"\" width=\"640\" height=\"360\" class=\"size-full wp-image-13963076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Kushner’s ‘Angels in America’ gets a reimagined production from the Oakland Theater Project. \u003ccite>(Maury Phillips/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/angels\">Angels in America, Parts I and II\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project at Marin Shakespeare Company\u003cbr>\nSept. 27–Oct. 27, 2024\u003c/em>\u003c/p>\n\u003cp>For this interpretation of one of theater’s greatest achievements, Tony Kushner’s two-part opus \u003cem>Angels in America\u003c/em>, Oakland Theater Project goes on the road to San Rafael at Marin Shakespeare Company’s new indoor space. Kushner is not known for writing pieces that are slim, and over two plays, \u003cem>Angels\u003c/em> easily surpasses seven hours. But what exists within those hours is incredibly powerful, raw and utterly thrilling.\u003c/p>\n\u003cp>There are endless themes within this story about AIDS’ impact on multiple couples in 1985. The Pulitzer and Tony Award-winning play encompasses the taboo of homosexuality in the 1980s, the AIDS crisis that disproportionately impacted gay couples, and the crisis of religious faith, all intersecting with appearances by historical figures. The Bay Area is home to \u003cem>Angels in America\u003c/em> in many ways, from its initial commission at the former Eureka Theatre in San Francisco in 1990 to a hugely consequential production at Berkeley Rep in 2018. (Lisa Ramirez, featured in OTP’s production, also played The Angel in Berkeley that year.)\u003c/p>\n\u003cfigure id=\"attachment_13963077\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13963077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Lizzie Borden case is fodder for a new punk musical. \u003ccite>(Bill Greene/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/lizzie-the-musical/\">Lizzie: The Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>6th Street Playhouse, Santa Rosa\u003cbr>\nOct. 4–27, 2024\u003c/em>\u003c/p>\n\u003cp>Lizzie Borden was accused of murdering her father and stepmother in 1892. In 1893, she was fully acquitted and lived the rest of her life in the same city the murders took place, Fall River, Massachusetts. And now, in Santa Rosa in 2024, her story is ready to shred at 6th Street Playhouse in the form of the 2009 rock musical. Expect all the components that make for a brutal tale of rage, sex, murder and mystery, plus power chords. \u003c/p>\n\u003cp>As a precursor to the bloody delights of the visceral musical’s sharp rock score, some gentler fare is going down at 6th Street, with the musical \u003cem>\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/four-guys-named-jose-and-una-mujer-named-maria/\">4 Guys Named José…and Una Mujer Named María\u003c/a>\u003c/em> opening at the end of August.\u003c/p>\n\u003cfigure id=\"attachment_13963078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg\" alt=\"\" width=\"2000\" height=\"1231\" class=\"size-full wp-image-13963078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1920x1182.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Jackson, left, takes on the joyful role of Rosalind, pursuing the love of Orlando, played by Wiley Naman Strasser, in Cal Shakes’s 50th anniversary production of William Shakespeare’s ‘As You Like It’ in Orinda. \u003ccite>(Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/asyoulikeit/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bruns Amphitheater, Orinda\u003cbr>\nSept. 12–29, 2024\u003c/em>\u003c/p>\n\u003cp>Cal Shakes faced some serious uphill battles to produce their first full production in two years, implementing a fundraising campaign that netted $365,000 — over their stated goal. While the future of the company is still fluid (the fundraiser is only supplementing the budget for this production), the company is firmly focused this 50th anniversary production of William Shakespeare’s classic at their picturesque outdoor space.\u003c/p>\n\u003cp>Elizabeth Carter directs this pastoral comedy with one of Shakespeare’s most beloved female characters, Rosalind, who flees persecution in search of safety and love in the Forest of Arden, with many colorful characters entering her world along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"aligncenter size-full wp-image-13963079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-768x481.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.zspace.org/murakami\">Murakami: The Strange Library\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Space and Word for Word, San Francisco\u003cbr>\nNov. 13–Dec. 8, 2024\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A library best described as a nightmare is the setting for Haruki Murakami’s short novel \u003cem>The Strange Library\u003c/em>. With a lonely young boy, a mysterious girl and a tortured sheep man, the story is brought to life by Word for Word, a program of Z Space. The program has performed more than 70 stories since 1996, bringing theatrical flair to written word of all types. Lead teaching artist with the Youth Theater Project Lisa Hori-Garcia collaborates with Bay Area actor and designer Keiko Shimosato Carreiro to direct Murakami’s popular children’s story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past July is officially on record as the hottest California month in decades. And while cooler temperatures will be ushered into the Bay Area soon, theater companies are hoping that local stages continue to stay hot well into the fall.\u003c/p>\n\u003cp>Companies are also gearing up to showcase their most artistic selves while continuing to find creative ways to achieve and maintain financial solvency. Here are 10 terrific shows from Labor Day to Thanksgiving one can start with to help support Bay Area theater companies.\u003c/p>\n\u003cfigure id=\"attachment_13963219\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg\" alt=\"\" width=\"1920\" height=\"1301\" class=\"size-full wp-image-13963219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1536x1041.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón and Hugo E. Carbajal in ‘Private Lives.’ \u003ccite>(Tim Fuller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Private Lives\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nSept. 12–Oct. 6, 2024\u003c/em>\u003c/p>\n\u003cp>Loathsome couple Elyot and Amanda aren’t looking for a reunion when they embark on a French vacation with new spouses. Yet the pull of their prior passions proves to be too much to resist, and a humor-filled comedy of manners ensues, rich with Noël Coward’s exquisite use of prose. A reunion of sorts from an acclaimed bilingual production of \u003cem>Romeo and Juliet\u003c/em> at Cal Shakes in 2022, multiple cast members now move to American Conservatory Theater’s Toni Rembe Theater to be directed by KJ Sanchez. The play’s original setting of France, meanwhile, is swapped out for Argentina, where an exotic and sensual tango informs Coward’s narrative.\u003c/p>\n\u003cfigure id=\"attachment_13963072\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg\" alt=\"\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13963072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">After serving as artistic director of the Peninsula’s Pear Theatre since early 2020, Sinjin Jones is entering his final season helming the company, kicking off the 2024 campaign directing the musical ‘Once on This Island.’ \u003ccite>(Courtesy Sinjin Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/\">Once on This Island\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre, Palo Alto\u003cbr>\nSept. 13–Oct. 13, 2024\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of a young Black peasant girl and the love she finds with a mixed-race aristocrat in Haiti is the basis for this one-act musical. While the show itself carries a history of consequential productions, its significance as the kickoff for The Pear Theatre season is tinted with an impending loss. Sinjin Jones, who took over as artistic director of the Palo Alto company in early 2020, will leave at the end of the 2025 season. Jones has played a vital role in leading the company through the pandemic, all while revitalizing the 22-year-old theater troupe by promoting diversity and equity in addition to strengthening the company’s educational and community programs.\u003c/p>\n\u003cfigure id=\"attachment_13963071\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg\" alt=\"\" width=\"1600\" height=\"1103\" class=\"size-full wp-image-13963071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1536x1059.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marie (Dominique Thorne) observes the wedding dress of Jaja (Somi Kakoma) in the Broadway production of ‘Jaja’s African Hair Braiding,’ heading to Berkeley this fall.\u003cbr> \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://www.berkeleyrep.org/shows/jaja-s-african-hair-braiding/\">Jaja’s African Hair Braiding\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003cbr>\nNov. 8–Dec. 15, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Jocelyn Bioh is no stranger to Berkeley Rep, having premiered the musical \u003cem>Goddess\u003c/em> there in 2022. Her next visit to the East Bay is with Broadway’s sleeper hit of last fall, \u003cem>Jaja’s African Hair Braiding\u003c/em>, with Whitney White returning to the director’s chair in this co-production with Arena Stage and Chicago Shakespeare Theater. Bioh’s play is an exercise in joy with serious themes about immigration and access to the American dream, all fused with a scorching Afrobeat soundtrack of the genre’s biggest stars. The play also features one of the coolest stage effects in recent memory throughout the entire show, culminating in some true theater magic at the end.\u003c/p>\n\u003cfigure id=\"attachment_13963070\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg\" alt=\"\" width=\"1600\" height=\"1065\" class=\"size-full wp-image-13963070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1536x1022.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley artistic director Giovanna Sardelli and Pulitzer-finalist playwright Rajiv Joseph have developed a long collaboration over the years. Joseph’s play ‘King James’ kicks of TheatreWorks’s 54th season. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://theatreworks.org/mainstage/king-james/\">King James\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nOct. 9–Nov. 3, 2024\u003c/em>\u003c/p>\n\u003cp>After the rousing success of the United States men’s national basketball team, capped by a thrilling finish and a gold medal, there’s no better time to dive into this story of two friends who enter into an unexpected connection. These men, whose fortunes run through the early, prodigious career of Lebron James, are the creation of Pulitzer-finalist playwright Rajiv Joseph. TheatreWorks’ artistic director Giovanna Sardelli, a frequent collaborator of Joseph, kicks off the company’s 54th season directing this tale of hoops and hopes.\u003c/p>\n\u003cfigure id=\"attachment_13963069\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg\" alt=\"\" width=\"1600\" height=\"1035\" class=\"size-full wp-image-13963069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1536x994.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The New Conservatory Theatre Center cast of ‘Ride the Cyclone,’ a show described as ‘weird and wondrous.’\u003cbr> \u003ccite>(New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>New Conservatory Theatre Center, San Francisco\u003cbr>\nSept. 20–Oct. 20, 2024\u003c/em>\u003c/p>\n\u003cp>This grizzled and gritty musical follows a Canadian school choir group who perish on the Cyclone roller coaster — but, while in limbo, are offered a chance to return to life via a mechanical fortune teller. The piece has had a bit of a zany history since its 2008 premiere, created by Jacob Richmond and Brooke Maxwell. The musical’s success reached something of a zenith in 2022 – on TikTok, millions of Gen Z users began diving deep into \u003cem>Ride the Cyclone\u003c/em> songs, stories and lore. The musical is dark, but also quite fun, and its regional premiere gives the Bay Area a chance to see what the hype is all about.\u003c/p>\n\u003cfigure id=\"attachment_13963068\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg\" alt=\"\" width=\"1020\" height=\"679\" class=\"size-full wp-image-13963068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob, seen here during the Marin Theatre Company production of ‘Dragon Lady’ in November of 2023, weaves a captivating tale of her grandmother’s perilous journey from Manila to the United States. Porkalob’s one-person show makes a return to the Bay Area via Walnut Creek at Center Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lesherartscenter.org/programs/center-repertory-company\">Dragon Lady\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Center Repertory Company, Walnut Creek\u003cbr>\nOct. 27–Nov. 24, 2024\u003c/em>\u003c/p>\n\u003cp>Seattle’s Sara Porkalob is a piercing, shooting star, tackling the theater world on her own terms, and her trilogy of plays that chronicle the women in her life are produced all over the country. For those who missed her \u003ca href=\"https://www.kqed.org/arts/13938714/powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch\">critically acclaimed run\u003c/a> in Marin last fall of \u003cem>Dragon Lady\u003c/em>, where she morphs into multiple characters while showcasing her buttery singing voice, a second chance in Walnut Creek is a gift. Presented in association with Marin Theatre Company, Porkalob’s one-person show about her grandmother’s perilous and painful journey from Manila to the United States is a masterclass in how to command a theater space with splash and panache.\u003c/p>\n\u003cfigure id=\"attachment_13963076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg\" alt=\"\" width=\"640\" height=\"360\" class=\"size-full wp-image-13963076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Kushner’s ‘Angels in America’ gets a reimagined production from the Oakland Theater Project. \u003ccite>(Maury Phillips/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/angels\">Angels in America, Parts I and II\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project at Marin Shakespeare Company\u003cbr>\nSept. 27–Oct. 27, 2024\u003c/em>\u003c/p>\n\u003cp>For this interpretation of one of theater’s greatest achievements, Tony Kushner’s two-part opus \u003cem>Angels in America\u003c/em>, Oakland Theater Project goes on the road to San Rafael at Marin Shakespeare Company’s new indoor space. Kushner is not known for writing pieces that are slim, and over two plays, \u003cem>Angels\u003c/em> easily surpasses seven hours. But what exists within those hours is incredibly powerful, raw and utterly thrilling.\u003c/p>\n\u003cp>There are endless themes within this story about AIDS’ impact on multiple couples in 1985. The Pulitzer and Tony Award-winning play encompasses the taboo of homosexuality in the 1980s, the AIDS crisis that disproportionately impacted gay couples, and the crisis of religious faith, all intersecting with appearances by historical figures. The Bay Area is home to \u003cem>Angels in America\u003c/em> in many ways, from its initial commission at the former Eureka Theatre in San Francisco in 1990 to a hugely consequential production at Berkeley Rep in 2018. (Lisa Ramirez, featured in OTP’s production, also played The Angel in Berkeley that year.)\u003c/p>\n\u003cfigure id=\"attachment_13963077\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13963077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Lizzie Borden case is fodder for a new punk musical. \u003ccite>(Bill Greene/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/lizzie-the-musical/\">Lizzie: The Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>6th Street Playhouse, Santa Rosa\u003cbr>\nOct. 4–27, 2024\u003c/em>\u003c/p>\n\u003cp>Lizzie Borden was accused of murdering her father and stepmother in 1892. In 1893, she was fully acquitted and lived the rest of her life in the same city the murders took place, Fall River, Massachusetts. And now, in Santa Rosa in 2024, her story is ready to shred at 6th Street Playhouse in the form of the 2009 rock musical. Expect all the components that make for a brutal tale of rage, sex, murder and mystery, plus power chords. \u003c/p>\n\u003cp>As a precursor to the bloody delights of the visceral musical’s sharp rock score, some gentler fare is going down at 6th Street, with the musical \u003cem>\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/four-guys-named-jose-and-una-mujer-named-maria/\">4 Guys Named José…and Una Mujer Named María\u003c/a>\u003c/em> opening at the end of August.\u003c/p>\n\u003cfigure id=\"attachment_13963078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg\" alt=\"\" width=\"2000\" height=\"1231\" class=\"size-full wp-image-13963078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1920x1182.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Jackson, left, takes on the joyful role of Rosalind, pursuing the love of Orlando, played by Wiley Naman Strasser, in Cal Shakes’s 50th anniversary production of William Shakespeare’s ‘As You Like It’ in Orinda. \u003ccite>(Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/asyoulikeit/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bruns Amphitheater, Orinda\u003cbr>\nSept. 12–29, 2024\u003c/em>\u003c/p>\n\u003cp>Cal Shakes faced some serious uphill battles to produce their first full production in two years, implementing a fundraising campaign that netted $365,000 — over their stated goal. While the future of the company is still fluid (the fundraiser is only supplementing the budget for this production), the company is firmly focused this 50th anniversary production of William Shakespeare’s classic at their picturesque outdoor space.\u003c/p>\n\u003cp>Elizabeth Carter directs this pastoral comedy with one of Shakespeare’s most beloved female characters, Rosalind, who flees persecution in search of safety and love in the Forest of Arden, with many colorful characters entering her world along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"aligncenter size-full wp-image-13963079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-768x481.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.zspace.org/murakami\">Murakami: The Strange Library\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Space and Word for Word, San Francisco\u003cbr>\nNov. 13–Dec. 8, 2024\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A library best described as a nightmare is the setting for Haruki Murakami’s short novel \u003cem>The Strange Library\u003c/em>. With a lonely young boy, a mysterious girl and a tortured sheep man, the story is brought to life by Word for Word, a program of Z Space. The program has performed more than 70 stories since 1996, bringing theatrical flair to written word of all types. Lead teaching artist with the Youth Theater Project Lisa Hori-Garcia collaborates with Bay Area actor and designer Keiko Shimosato Carreiro to direct Murakami’s popular children’s story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s plenty to draw on when we think of Bay Area musical history. The 1960s were marked by psychedelic pop. A decade later, Sylvester ignited dance floors with his flare for disco synths. And later, legacy rock bands such as Metallica and Green Day emerged. \u003c/p>\n\u003cp>A new weekly radio show, called \u003cem>Vinelands\u003c/em>, wants to pay homage to these “golden ages” of Bay Area music — while highlighting emerging artists, says Kelley Stoltz, the show’s co-host and a San Francisco musician, whose 18th album came out in June and is known for guitar-laden psych pop tunes.\u003c/p>\n\u003cp>“We’re due for another deeper examination,” he said.\u003c/p>\n\u003cp>[aside postID='arts_13954030']\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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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"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"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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"order": 16
},
"link": "/podcasts/rightnowish",
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