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We Are the World: International Music in the Fall
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Happy Trails: Five Reasons Fall is the Best Time to Hike in the Bay Area
Curtain Call for Screens: 7 Kid-Friendly Performances
Escape the Distractions and See these Ten Dance Events
Uplifting Art for Uncertain Times: 8 Exhibits You Can't Miss This Fall
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https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although Litquake, the Bay Area’s annual writing and reading festival, has events all year long, the week-plus of programming in early October is always incredible and a point of pride for locals. It can be tricky to navigate the San Francisco portion, with so many readings, performances, parties, and more, so we’ve picked a slate to recommend. To top it off, we’ve also provided a survival guide to Litquake’s most famous invention, the Lit Crawl: a single-night, 80-venue, all-reading all the time event that drew nearly 10,000 booklovers last year. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12091615\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michelle-Tea-480x600.jpg\" alt=\"Michelle Tea\" width=\"480\" height=\"600\" class=\"size-medium wp-image-12091615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea.jpg 750w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Tea \u003ccite>(Photo: Courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Riding Out Doomsday: Michelle Tea in conversation with Daniel Handler\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nAmerican Bookbonders Museum\u003cbr>\n\u003ca href=\"http://sched.co/7jtk\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>KQED’s The Spine analyzed \u003ca href=\"https://ww2.kqed.org/arts/2016/08/28/care-of-the-soul-on-michelle-teas-black-wave/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wave\u003c/em>\u003c/a> recently, so let’s just state that Michelle Tea and Daniel Handler (aka Lemony Snicket, author of \u003cem>A Series of Unfortunate Events\u003c/em>) are incredibly accomplished writers, both prolific and dedicated to their craft. However, please note that not all great writers are great performers. Luckily these two are quick-witted, well-spoken, and warm, and seem to actually enjoy being onstage; they even seem to appreciate one another’s company while standing in front of a crowd. Tea and Handler are definitely the ingredients for an evening of writerly edification that’s the opposite of boring: she’s reliably dialed-in and funny, and he’ll do nearly anything for a smart laugh.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12091616\" class=\"wp-caption alignleft\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-403x600.jpg\" alt=\"'The Gods of Tango'\" width=\"403\" height=\"600\" class=\"size-medium wp-image-12091616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango.jpg 500w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gods of Tango’\u003c/figcaption>\u003c/figure>\n\u003ch3>Latina Fiction: Politics, Social Justice, and Sexuality\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nMechanics Institute Library\u003cbr>\n\u003ca href=\"http://sched.co/7sNQ\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>An Oakland author of Uruguayan origins, Carolina De Robertis is the kind of international multilingual superstar jetsetter lesbian wife and mother the Bay Area’s famous for. Award-winning, \u003cem>O-Magazine\u003c/em>-featured, NEA fellow De Robertis’ latest novel \u003cem>The Gods of Tango\u003c/em> is praised by Junot Diaz as “extraordinarily courageous.” Junot f*cking Diaz! The event, part of Litquake’s Off the Richter Scale series, also features Yalitza Ferreras, Aya de Leon, and Maria Poblet.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12092897\" class=\"wp-caption alignleft\" style=\"max-width: 406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Citizen-406x600.png\" alt=\"'Citizen: An American Lyric '\" width=\"406\" height=\"600\" class=\"size-medium wp-image-12092897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen-406x600.png 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen-400x591.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen.png 496w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003cfigcaption class=\"wp-caption-text\">‘Citizen: An American Lyric ‘\u003c/figcaption>\u003c/figure>\n\u003ch3>America Lyric: Claudia Rankine in Conversation\u003c/h3>\n\u003ch5>Oct. 14\u003cbr>\nSwedish American Music Hall\u003cbr>\n\u003ca href=\"http://sched.co/7jyX\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Writing poetry is severely difficult and poets are always underpaid. Who knows how poets do it, let alone how a poet becomes as great as Claudia Rankine? The author of \u003cem>Citizen: An American Lyric\u003c/em> has detonated expectations of poetry in many ways; her prose poems describe phenomena invisible to the white reader’s eye, in language Marjorie Perloff describes as “terse, brilliant, parabolic.” Much of the book is short descriptions of microaggressions, those moments of casual, “small” racism people of color move through daily. Though not physically violent, they create injury, as Rankine and many others have pointed out. “That’s the bruise the ice in the heart was meant to ice,” she writes. Rankine will be speaking with author Sarah Ladipo Manyika, who published her second novel, \u003ci>Like a Mule Bringing Ice Cream to the Sun\u003c/i> back in April.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12092899\" class=\"wp-caption alignleft\" style=\"max-width: 593px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Vesuvio-Caf%C3%A9-593x600.jpg\" alt=\"Vesuvio Café\" width=\"593\" height=\"600\" class=\"size-medium wp-image-12092899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café.jpg 705w\" sizes=\"(max-width: 593px) 100vw, 593px\">\u003cfigcaption class=\"wp-caption-text\">Vesuvio Café\u003c/figcaption>\u003c/figure>\n\u003ch3>Straight, No Chaser: Writers at the Bar\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nVesuvio Café\u003cbr>\n\u003ca href=\"http://sched.co/7jxA\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If past years are any guide, this annual Litquake event is definitely a highlight. The venue itself, Vesuvio, is part of the experience, as a visual riot and a literary landmark. The tone of the evening tends to bat back and forth between sheer excellence and deep hilarity, not that those are mutually exclusive. This year features Alia Volz, Christian Keifer, D. Watkins, Joshua Mohr, Charlie Anders, and Zahra Noorbakhsh.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12093266\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-400x600.jpg\" alt=\"'An Indigenous Peoples’ History of the United States'\" width=\"400\" height=\"600\" class=\"size-medium wp-image-12093266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory.jpg 1800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An Indigenous Peoples’ History of the United States’\u003c/figcaption>\u003c/figure>\n\u003ch3>Writing the Indigenous Experience\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nSan Francisco Center for the Book\u003cbr>\n\u003ca href=\"http://sched.co/7jxM\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This is what Litquake does best: present a multitude of voices. They don’t do it to “foster diversity” (although it does), but for the basic logic and pleasure of hearing what actual Bay Area writers are doing with their lives. On this night, authors looking at the complexities of writing indigenous, First Nations, Native American, and American Indian experiences have the microphone. The great feminist Okie outlaw historian Roxanne Dunbar-Ortiz won the American Book Award last year for \u003cem>An Indigenous Peoples’ History of the United States\u003c/em>; she appears here with Dina Gilio-Whitaker, Greg Sarris, Alison Owings, and Kim Shuck.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10143584\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop.jpg\" alt=\"The scene from the first Lit Crawl in 2004, when the reading was held outside the Phoenix Bar because employees wouldn't turn the televisions off. Courtesy of Litquake\" width=\"640\" height=\"496\" class=\"size-thumb wp-image-10143584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop-400x310.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The scene from the first Lit Crawl in 2004, when the reading was held outside the Phoenix Bar because employees wouldn’t turn the televisions off. Courtesy of Litquake\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lit Crawl Survival Guide\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nVarious Venues\u003cbr>\n\u003ca href=\"https://litcrawlsanfrancisco2016.sched.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Lit Crawl’s basic setup is that readings take over every available space in a given district: laundrymats, hair salons, hardware stores—anywhere, as long as they’ll turn down the TV and sometimes even if they won’t (looking at you, Phoenix Irish Pub three years ago.) Here in San Francisco, the crawl takes place mainly in the Mission/Valencia corridor, a densely populated retail-heavy area full of street-facing plate glass. During Lit Crawl, those big windows will be bright and packed with thousands of readers. Last year, 82 events featured an estimated 300 writers during the crawl’s three hourlong sessions, 10,000 people showed up, and the whole thing was free, like it always is. \u003c/p>\n\u003cp>Here are some suggestions for surviving the often overwhelming experience of being one of those thousands of happy literary lemmings:\u003c/p>\n\u003cp>\u003cstrong>– Bring your own water.\u003c/strong> You may wind up walking a lot, and every corner store, restaurant, feedbag, and watertrough will be on the other side of a long line from you. This is true of other things to drink as well, although it’s sometimes possible to purchase drinks if your event is at a bar. If you get the chance to buy food or drink, pounce on it. But come prepared. \u003c/p>\n\u003cp>\u003cstrong>– Choose one or two must-see events\u003c/strong>, and move heaven and earth to arrive at them half an hour or more before they begin. Still, be ready to queue up. \u003c/p>\n\u003cp>\u003cstrong>– The rest of the time, see whatever!\u003c/strong> No poor choices are possible, and although you may hear more about a random writer’s coke habit than is strictly necessary, that’s the worst thing that can happen. Stay flexible, keep your eyes and ears open, take advice from random strangers, and get caught up in enthusiastic crowds.\u003c/p>\n\u003cp>\u003cstrong>– Take time to appreciate\u003c/strong> the way the world is full of readers and writers tonight; San Francisco is the home-place of the Lit Crawl and the largest one in the world. Lit Crawls now exist in Texas, New Zealand, Iowa, London, Helsinki, Los Angeles, and more, but this is the original. Don’t rush by with your head in the program, and remember it’s OK to just look around, without even taking a picture. \u003c/p>\n\u003cp>\u003cstrong>– Bring “extra” money to buy books\u003c/strong>. If you’re unfamiliar with the rush of putting liquid currency directly into the hand of the artist who made your book, Litquake in general and the crawl in particular are great places to get hooked.\u003cbr>\n\u003cstrong>\u003cbr>\n– Be prepared to stand, or sit on the floor\u003c/strong>, and be squished in next to people. I want to see clogs on feet, people. I sat under a table and listened to Charlie Jane Anders’ feet one year, and it was fantastic. \u003c/p>\n\u003cp>\u003cstrong>– Give up on dinner.\u003c/strong> No dinner tonight, sorry. If you can eat before six or after 10, fine, but that’s it. You can eat dinner every other night of the year and I hope you do. Not tonight. Have fun! \u003c/p>\n\u003cp>\u003ci>The 14th annual Litquake takes place Oct. 7 – 15 in various venues around San Francisco. For more information, visit \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">www.litquake.org\u003c/a>.\u003c/i>\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"You can't see everything -- don't even try. Here are our not-to-miss event suggestions, plus a handy guide on how to survive Lit Crawl. ","status":"publish","parent":0,"modified":1705032989,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1329},"headData":{"title":"Five Readings and Skipping Dinner: How to Litquake 2016 | KQED","description":"You can't see everything -- don't even try. Here are our not-to-miss event suggestions, plus a handy guide on how to survive Lit Crawl. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Five Readings and Skipping Dinner: How to Litquake 2016","datePublished":"2016-09-20T15:00:04.000Z","dateModified":"2024-01-12T04:16:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"494723095","path":"/arts/12091431/five-readings-and-skipping-dinner-how-to-litquake-2016","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although Litquake, the Bay Area’s annual writing and reading festival, has events all year long, the week-plus of programming in early October is always incredible and a point of pride for locals. It can be tricky to navigate the San Francisco portion, with so many readings, performances, parties, and more, so we’ve picked a slate to recommend. To top it off, we’ve also provided a survival guide to Litquake’s most famous invention, the Lit Crawl: a single-night, 80-venue, all-reading all the time event that drew nearly 10,000 booklovers last year. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12091615\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michelle-Tea-480x600.jpg\" alt=\"Michelle Tea\" width=\"480\" height=\"600\" class=\"size-medium wp-image-12091615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea-480x600.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michelle-Tea.jpg 750w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Tea \u003ccite>(Photo: Courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Riding Out Doomsday: Michelle Tea in conversation with Daniel Handler\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nAmerican Bookbonders Museum\u003cbr>\n\u003ca href=\"http://sched.co/7jtk\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>KQED’s The Spine analyzed \u003ca href=\"https://ww2.kqed.org/arts/2016/08/28/care-of-the-soul-on-michelle-teas-black-wave/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wave\u003c/em>\u003c/a> recently, so let’s just state that Michelle Tea and Daniel Handler (aka Lemony Snicket, author of \u003cem>A Series of Unfortunate Events\u003c/em>) are incredibly accomplished writers, both prolific and dedicated to their craft. However, please note that not all great writers are great performers. Luckily these two are quick-witted, well-spoken, and warm, and seem to actually enjoy being onstage; they even seem to appreciate one another’s company while standing in front of a crowd. Tea and Handler are definitely the ingredients for an evening of writerly edification that’s the opposite of boring: she’s reliably dialed-in and funny, and he’ll do nearly anything for a smart laugh.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12091616\" class=\"wp-caption alignleft\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-403x600.jpg\" alt=\"'The Gods of Tango'\" width=\"403\" height=\"600\" class=\"size-medium wp-image-12091616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-403x600.jpg 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango-400x596.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gods_of_Tango.jpg 500w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gods of Tango’\u003c/figcaption>\u003c/figure>\n\u003ch3>Latina Fiction: Politics, Social Justice, and Sexuality\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nMechanics Institute Library\u003cbr>\n\u003ca href=\"http://sched.co/7sNQ\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>An Oakland author of Uruguayan origins, Carolina De Robertis is the kind of international multilingual superstar jetsetter lesbian wife and mother the Bay Area’s famous for. Award-winning, \u003cem>O-Magazine\u003c/em>-featured, NEA fellow De Robertis’ latest novel \u003cem>The Gods of Tango\u003c/em> is praised by Junot Diaz as “extraordinarily courageous.” Junot f*cking Diaz! The event, part of Litquake’s Off the Richter Scale series, also features Yalitza Ferreras, Aya de Leon, and Maria Poblet.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12092897\" class=\"wp-caption alignleft\" style=\"max-width: 406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Citizen-406x600.png\" alt=\"'Citizen: An American Lyric '\" width=\"406\" height=\"600\" class=\"size-medium wp-image-12092897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen-406x600.png 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen-400x591.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Citizen.png 496w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003cfigcaption class=\"wp-caption-text\">‘Citizen: An American Lyric ‘\u003c/figcaption>\u003c/figure>\n\u003ch3>America Lyric: Claudia Rankine in Conversation\u003c/h3>\n\u003ch5>Oct. 14\u003cbr>\nSwedish American Music Hall\u003cbr>\n\u003ca href=\"http://sched.co/7jyX\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Writing poetry is severely difficult and poets are always underpaid. Who knows how poets do it, let alone how a poet becomes as great as Claudia Rankine? The author of \u003cem>Citizen: An American Lyric\u003c/em> has detonated expectations of poetry in many ways; her prose poems describe phenomena invisible to the white reader’s eye, in language Marjorie Perloff describes as “terse, brilliant, parabolic.” Much of the book is short descriptions of microaggressions, those moments of casual, “small” racism people of color move through daily. Though not physically violent, they create injury, as Rankine and many others have pointed out. “That’s the bruise the ice in the heart was meant to ice,” she writes. Rankine will be speaking with author Sarah Ladipo Manyika, who published her second novel, \u003ci>Like a Mule Bringing Ice Cream to the Sun\u003c/i> back in April.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12092899\" class=\"wp-caption alignleft\" style=\"max-width: 593px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Vesuvio-Caf%C3%A9-593x600.jpg\" alt=\"Vesuvio Café\" width=\"593\" height=\"600\" class=\"size-medium wp-image-12092899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Vesuvio-Café.jpg 705w\" sizes=\"(max-width: 593px) 100vw, 593px\">\u003cfigcaption class=\"wp-caption-text\">Vesuvio Café\u003c/figcaption>\u003c/figure>\n\u003ch3>Straight, No Chaser: Writers at the Bar\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nVesuvio Café\u003cbr>\n\u003ca href=\"http://sched.co/7jxA\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>If past years are any guide, this annual Litquake event is definitely a highlight. The venue itself, Vesuvio, is part of the experience, as a visual riot and a literary landmark. The tone of the evening tends to bat back and forth between sheer excellence and deep hilarity, not that those are mutually exclusive. This year features Alia Volz, Christian Keifer, D. Watkins, Joshua Mohr, Charlie Anders, and Zahra Noorbakhsh.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12093266\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-400x600.jpg\" alt=\"'An Indigenous Peoples’ History of the United States'\" width=\"400\" height=\"600\" class=\"size-medium wp-image-12093266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dunbar-ortiz-anindigenouspeopleshistory.jpg 1800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An Indigenous Peoples’ History of the United States’\u003c/figcaption>\u003c/figure>\n\u003ch3>Writing the Indigenous Experience\u003c/h3>\n\u003ch5>Oct. 12\u003cbr>\nSan Francisco Center for the Book\u003cbr>\n\u003ca href=\"http://sched.co/7jxM\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This is what Litquake does best: present a multitude of voices. They don’t do it to “foster diversity” (although it does), but for the basic logic and pleasure of hearing what actual Bay Area writers are doing with their lives. On this night, authors looking at the complexities of writing indigenous, First Nations, Native American, and American Indian experiences have the microphone. The great feminist Okie outlaw historian Roxanne Dunbar-Ortiz won the American Book Award last year for \u003cem>An Indigenous Peoples’ History of the United States\u003c/em>; she appears here with Dina Gilio-Whitaker, Greg Sarris, Alison Owings, and Kim Shuck.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10143584\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop.jpg\" alt=\"The scene from the first Lit Crawl in 2004, when the reading was held outside the Phoenix Bar because employees wouldn't turn the televisions off. Courtesy of Litquake\" width=\"640\" height=\"496\" class=\"size-thumb wp-image-10143584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/a-classic-litquake-moment-crop-400x310.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The scene from the first Lit Crawl in 2004, when the reading was held outside the Phoenix Bar because employees wouldn’t turn the televisions off. Courtesy of Litquake\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lit Crawl Survival Guide\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nVarious Venues\u003cbr>\n\u003ca href=\"https://litcrawlsanfrancisco2016.sched.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Lit Crawl’s basic setup is that readings take over every available space in a given district: laundrymats, hair salons, hardware stores—anywhere, as long as they’ll turn down the TV and sometimes even if they won’t (looking at you, Phoenix Irish Pub three years ago.) Here in San Francisco, the crawl takes place mainly in the Mission/Valencia corridor, a densely populated retail-heavy area full of street-facing plate glass. During Lit Crawl, those big windows will be bright and packed with thousands of readers. Last year, 82 events featured an estimated 300 writers during the crawl’s three hourlong sessions, 10,000 people showed up, and the whole thing was free, like it always is. \u003c/p>\n\u003cp>Here are some suggestions for surviving the often overwhelming experience of being one of those thousands of happy literary lemmings:\u003c/p>\n\u003cp>\u003cstrong>– Bring your own water.\u003c/strong> You may wind up walking a lot, and every corner store, restaurant, feedbag, and watertrough will be on the other side of a long line from you. This is true of other things to drink as well, although it’s sometimes possible to purchase drinks if your event is at a bar. If you get the chance to buy food or drink, pounce on it. But come prepared. \u003c/p>\n\u003cp>\u003cstrong>– Choose one or two must-see events\u003c/strong>, and move heaven and earth to arrive at them half an hour or more before they begin. Still, be ready to queue up. \u003c/p>\n\u003cp>\u003cstrong>– The rest of the time, see whatever!\u003c/strong> No poor choices are possible, and although you may hear more about a random writer’s coke habit than is strictly necessary, that’s the worst thing that can happen. Stay flexible, keep your eyes and ears open, take advice from random strangers, and get caught up in enthusiastic crowds.\u003c/p>\n\u003cp>\u003cstrong>– Take time to appreciate\u003c/strong> the way the world is full of readers and writers tonight; San Francisco is the home-place of the Lit Crawl and the largest one in the world. Lit Crawls now exist in Texas, New Zealand, Iowa, London, Helsinki, Los Angeles, and more, but this is the original. Don’t rush by with your head in the program, and remember it’s OK to just look around, without even taking a picture. \u003c/p>\n\u003cp>\u003cstrong>– Bring “extra” money to buy books\u003c/strong>. If you’re unfamiliar with the rush of putting liquid currency directly into the hand of the artist who made your book, Litquake in general and the crawl in particular are great places to get hooked.\u003cbr>\n\u003cstrong>\u003cbr>\n– Be prepared to stand, or sit on the floor\u003c/strong>, and be squished in next to people. I want to see clogs on feet, people. I sat under a table and listened to Charlie Jane Anders’ feet one year, and it was fantastic. \u003c/p>\n\u003cp>\u003cstrong>– Give up on dinner.\u003c/strong> No dinner tonight, sorry. If you can eat before six or after 10, fine, but that’s it. You can eat dinner every other night of the year and I hope you do. Not tonight. Have fun! \u003c/p>\n\u003cp>\u003ci>The 14th annual Litquake takes place Oct. 7 – 15 in various venues around San Francisco. For more information, visit \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">www.litquake.org\u003c/a>.\u003c/i>\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12091431/five-readings-and-skipping-dinner-how-to-litquake-2016","authors":["8641"],"series":["arts_1493"],"categories":["arts_73","arts_1003"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_10143607","label":"arts_1493"},"arts_11997801":{"type":"posts","id":"arts_11997801","meta":{"index":"posts_1591205157","site":"arts","id":"11997801","score":null,"sort":[1473977268000]},"guestAuthors":[],"slug":"fall-movie-guide-women-and-men-on-the-verge","title":"Fall Movie Guide: Women and Men on the Verge","publishDate":1473977268,"format":"image","headTitle":"Fall Movie Guide: Women and Men on the Verge | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The catastrophic crises contrived to drive Hollywood’s summer movies make me yawn: sociopathic supervillains, alien invasions, frantic felines and genocidal space marauders. All that pre-adolescent nonsense finally slipped into the rear-view window on Labor Day, and the theaters (mostly) reverted to the control of adults. If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073435\" class=\"wp-caption alignleft\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg\" alt=\"Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller 'Snowden. '\" width=\"788\" height=\"600\" class=\"size-medium wp-image-12073435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527.jpg 800w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller ‘Snowden. ‘ \u003ccite>(Photo: Jürgen Olczyk )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Snowden\u003c/em>\u003c/h3>\n\u003ch5>Opens Sept. 16\u003c/h5>\n\u003cp>Happy birthday to perennially angry young man Oliver Stone, who turns 70 the day before his biopic on whistleblower Edward Snowden opens. Here’s hoping Stone resisted the low-hanging fruit of anti-government agit-prop and the genre allure of paranoid thrillers to craft a behind-the-scenes story of Snowden, an everyman (played by Joseph Gordon-Levitt) who risked everything to do the right thing. Plenty of people still despise Snowden for his 2013 exposure of the breadth of NSA spying, even after documentary filmmaker Laura Poitras’s Oscar-winning \u003cem>Citizenfour\u003c/em> revealed the former analyst to be neither a traitor nor an egomaniac but a rational computer geek fluent in moral code. Perhaps they’ll see \u003cem>Snowden\u003c/em> as a bookend to Stone’s earlier portrait of a controversial patriot, \u003cem>Born On the Fourth of July\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073447\" class=\"wp-caption alignleft\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg\" alt=\"Ann Magnani\" width=\"711\" height=\"600\" class=\"size-medium wp-image-12073447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-768x648.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-1180x995.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-960x810.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2.jpg 1394w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">Ann Magnani\u003c/figcaption>\u003c/figure>\n\u003ch3>Anna Magnani\u003c/h3>\n\u003ch5>Sept. 24 at the Castro\u003cbr>\n\u003ca href=\"http://www.cinemaitaliasf.com\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25 – Dec. 4 at the Pacific Film Archive\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>As a prelude to the annual Pageant of Possible Pretenders to Meryl Streep’s Throne — also known as the Academy Award nominations for Best Actress—you are enjoined to refresh yourself at the fount of torrential, passionate acting. “Anna Magnani — A Film Series” thunders the walls of the Castro with four astonishing performances by the Italian force of nature in \u003cem>Rome Open City\u003c/em> (1945), \u003cem>Bellissima\u003c/em> (1952), \u003cem>The Rose Tattoo\u003c/em> (1955) and \u003cem>The Passionate Thief\u003c/em> (1960). With your appetite thus whetted, the Pacific Film Archive wheels out the main course the next day: “Anna Magnani: Eternal Soul of Italian Cinema.” You’re familiar with the phrase “the camera loves” this or that performer. Magnani devoured the camera, and the screen.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073438\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg\" alt=\" Armie Hammer as "Samuel Turner," Nate Parker as "Nat Turner" and Jayson Warner Smith as "Earl Fowler" in 'The Birth of A Nation.' \" width=\"640\" height=\"537\" class=\"size-large wp-image-12073438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-715x600.jpg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-960x806.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1.jpg 1372w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as “Samuel Turner,” Nate Parker as “Nat Turner” and Jayson Warner Smith as “Earl Fowler” in ‘The Birth of A Nation.’ \u003ccite>(Photo: Courtesy of Fox Searchlight Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Birth of a Nation\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 7\u003c/h5>\n\u003cp>Nat Turner was owned by a less-cruel-than-usual Virginia cotton grower whose wife deemed it admirable to teach the boy to read, but just the Bible and only certain sections. In writer-director-actor Nate Parker’s telling, Nat was radicalized in his twenties by seeing the horrific mistreatment of slaves by other white land owners and by discovering the Old Testament’s passages condemning slavery. \u003cem>The Birth of a Nation\u003c/em> is an incendiary film with religious overtones that invites various interpretations and critiques. It deserves to be widely seen, and its depictions of violence in 1820s America widely discussed, given the ongoing disgrace of police shootings of unarmed African-Americans almost two centuries later.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073439\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg\" alt=\"Delphine Seyrig in Chantal Ackerman's 1975 tour de force 'Jeanne Dielman'\" width=\"640\" height=\"513\" class=\"size-large wp-image-12073439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-749x600.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-960x769.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delphine Seyrig in Chantal Ackerman’s 1975 tour de force ‘Jeanne Dielman’\u003c/figcaption>\u003c/figure>\n\u003ch3>Modern Cinema\u003c/h3>\n\u003ch5>Oct. 7–23\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The just-completed expansion of SFMOMA included a renovation of Phyllis Wattis Theatre and the addition of a dedicated entrance, correcting an original design flaw that complicated standalone film screenings. The museum and the San Francisco Film Society (presenters of the S.F. International Film Festival) inaugurate the refreshed screening room with three packed weekends of rare, vintage, cult and classic movies. A slew of beloved titles by Janus/Criterion icons from Bergman to Fassbinder screen Oct. 7 – 14 under the rubric “Haunted by Cinema,” with “Haunted Cinema” (Oct. 21 – 23) encompassing otherworldly films like \u003cem>Picnic at Hanging Rock\u003c/em> and \u003cem>Ugetsu\u003c/em>. Sandwiched in between, Thai filmmaker and ghost lover Apichatpong Weerasethakul is saluted Oct. 13 – 16 with an in-person retrospective augmented with works by Renoir, Bunuel, Polanski and Erice.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073440\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg\" alt=\"Gina Lewis (Michelle Williams) in Kelly Reichardt’s 'Certain Women'\" width=\"558\" height=\"600\" class=\"size-medium wp-image-12073440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-400x430.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-768x826.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-960x1033.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms.jpg 1096w\" sizes=\"(max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lewis (Michelle Williams) in Kelly Reichardt’s ‘Certain Women’ \u003ccite>(Photo: Nicole Rivelli/ Courtesy of IFC Films. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Certain Women\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 14\u003c/h5>\n\u003cp>Writer-director Kelly Reichardt (\u003cem>Wendy and Lucy\u003c/em>, \u003cem>Meek’s Cutoff\u003c/em>) is less interested in plot than character, which means she embraces levels of sensitivity and subtlety that are simply beyond most filmmakers. Reichardt relishes placing female characters in positions of uncharted responsibility, then seeing how they deal with both explicit and ingrained male obstruction. She adapts and weaves the short stories of Montana author Maile Meloy this time out, in collaboration with longtime cohort Michelle Williams, the great Laura Dern, the underrated Kristen Stewart and newcomer Lily Gladstone. (Did I overlook the men in the cast? Dear me.) \u003cem>Certain Women\u003c/em> debuted at Sundance and plays the prestigious New York Film Festival before opening theatrically.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073441\" class=\"wp-caption alignleft\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg\" alt=\"Mahershala Ali in 'Moonlight'\" width=\"735\" height=\"600\" class=\"size-medium wp-image-12073441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie.jpg 932w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Mahershala Ali in ‘Moonlight’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Moonlight\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 28\u003c/h5>\n\u003cp>With his wonderful San Francisco-set directorial debut, \u003cem>Medicine for Melancholy\u003c/em> (2008), Florida-to-Bay Area transplant Barry Jenkins broke out in a way that only a tiny handful of local narrative filmmakers ever had. His long-awaited follow-up, based on Tarell Alvin McCraney’s play \u003cem>In Moonlight Black Boys Look Blue\u003c/em>, follows a gay black man from childhood into adulthood, from Miami’s bullying streets out to the wider world. The theme of black men loving black men, and James Laxton’s gorgeous photography, puts me in mind of \u003cem>Tongues Untied\u003c/em>, Marlon Riggs’ sensual and uncompromising 1989 declaration of independence, manhood, sex and poetry.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073249\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg\" alt=\"Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\" width=\"800\" height=\"555\" class=\"size-medium wp-image-12073249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>American Pastoral\u003c/em>\u003c/h3>\n\u003ch5>Opens Friday, Oct. 28\u003c/h5>\n\u003cp>A film (or three) with a literary pedigree is as sure a sign of fall as football and leaf-strewn sidewalks. Ewan McGregor makes his directorial debut with a wrenching adaptation of Phillip Roth’s 1997 Pulitzer Prize-winning novel, smartly surrounding himself with actor’s actors David Strathairn, Peter Riegert, Molly Parker, Rupert Evans, Dakota Fanning and Jennifer Connelly. The British matinee idol also stars as Seymour “Swede” Levov, a successful New Jersey factory owner whose self-assured, midcentury grip on the American Dream is broken by ‘60s radicalism that arises in his own family. The release of \u003cem>American Pastoral\u003c/em> just before Election Day is not wholly accidental. Halloween horror aside, fall movies are more than entertainment.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons you this fall.","status":"publish","parent":0,"modified":1705033016,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":1125},"headData":{"title":"Fall Movie Guide: Women and Men on the Verge | KQED","description":"If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons you this fall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fall Movie Guide: Women and Men on the Verge","datePublished":"2016-09-15T22:07:48.000Z","dateModified":"2024-01-12T04:16:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"494151134","path":"/arts/11997801/fall-movie-guide-women-and-men-on-the-verge","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The catastrophic crises contrived to drive Hollywood’s summer movies make me yawn: sociopathic supervillains, alien invasions, frantic felines and genocidal space marauders. All that pre-adolescent nonsense finally slipped into the rear-view window on Labor Day, and the theaters (mostly) reverted to the control of adults. If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073435\" class=\"wp-caption alignleft\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg\" alt=\"Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller 'Snowden. '\" width=\"788\" height=\"600\" class=\"size-medium wp-image-12073435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527.jpg 800w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller ‘Snowden. ‘ \u003ccite>(Photo: Jürgen Olczyk )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Snowden\u003c/em>\u003c/h3>\n\u003ch5>Opens Sept. 16\u003c/h5>\n\u003cp>Happy birthday to perennially angry young man Oliver Stone, who turns 70 the day before his biopic on whistleblower Edward Snowden opens. Here’s hoping Stone resisted the low-hanging fruit of anti-government agit-prop and the genre allure of paranoid thrillers to craft a behind-the-scenes story of Snowden, an everyman (played by Joseph Gordon-Levitt) who risked everything to do the right thing. Plenty of people still despise Snowden for his 2013 exposure of the breadth of NSA spying, even after documentary filmmaker Laura Poitras’s Oscar-winning \u003cem>Citizenfour\u003c/em> revealed the former analyst to be neither a traitor nor an egomaniac but a rational computer geek fluent in moral code. Perhaps they’ll see \u003cem>Snowden\u003c/em> as a bookend to Stone’s earlier portrait of a controversial patriot, \u003cem>Born On the Fourth of July\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073447\" class=\"wp-caption alignleft\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg\" alt=\"Ann Magnani\" width=\"711\" height=\"600\" class=\"size-medium wp-image-12073447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-768x648.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-1180x995.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-960x810.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2.jpg 1394w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">Ann Magnani\u003c/figcaption>\u003c/figure>\n\u003ch3>Anna Magnani\u003c/h3>\n\u003ch5>Sept. 24 at the Castro\u003cbr>\n\u003ca href=\"http://www.cinemaitaliasf.com\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25 – Dec. 4 at the Pacific Film Archive\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>As a prelude to the annual Pageant of Possible Pretenders to Meryl Streep’s Throne — also known as the Academy Award nominations for Best Actress—you are enjoined to refresh yourself at the fount of torrential, passionate acting. “Anna Magnani — A Film Series” thunders the walls of the Castro with four astonishing performances by the Italian force of nature in \u003cem>Rome Open City\u003c/em> (1945), \u003cem>Bellissima\u003c/em> (1952), \u003cem>The Rose Tattoo\u003c/em> (1955) and \u003cem>The Passionate Thief\u003c/em> (1960). With your appetite thus whetted, the Pacific Film Archive wheels out the main course the next day: “Anna Magnani: Eternal Soul of Italian Cinema.” You’re familiar with the phrase “the camera loves” this or that performer. Magnani devoured the camera, and the screen.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073438\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg\" alt=\" Armie Hammer as "Samuel Turner," Nate Parker as "Nat Turner" and Jayson Warner Smith as "Earl Fowler" in 'The Birth of A Nation.' \" width=\"640\" height=\"537\" class=\"size-large wp-image-12073438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-715x600.jpg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-960x806.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1.jpg 1372w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as “Samuel Turner,” Nate Parker as “Nat Turner” and Jayson Warner Smith as “Earl Fowler” in ‘The Birth of A Nation.’ \u003ccite>(Photo: Courtesy of Fox Searchlight Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Birth of a Nation\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 7\u003c/h5>\n\u003cp>Nat Turner was owned by a less-cruel-than-usual Virginia cotton grower whose wife deemed it admirable to teach the boy to read, but just the Bible and only certain sections. In writer-director-actor Nate Parker’s telling, Nat was radicalized in his twenties by seeing the horrific mistreatment of slaves by other white land owners and by discovering the Old Testament’s passages condemning slavery. \u003cem>The Birth of a Nation\u003c/em> is an incendiary film with religious overtones that invites various interpretations and critiques. It deserves to be widely seen, and its depictions of violence in 1820s America widely discussed, given the ongoing disgrace of police shootings of unarmed African-Americans almost two centuries later.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073439\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg\" alt=\"Delphine Seyrig in Chantal Ackerman's 1975 tour de force 'Jeanne Dielman'\" width=\"640\" height=\"513\" class=\"size-large wp-image-12073439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-749x600.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-960x769.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delphine Seyrig in Chantal Ackerman’s 1975 tour de force ‘Jeanne Dielman’\u003c/figcaption>\u003c/figure>\n\u003ch3>Modern Cinema\u003c/h3>\n\u003ch5>Oct. 7–23\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The just-completed expansion of SFMOMA included a renovation of Phyllis Wattis Theatre and the addition of a dedicated entrance, correcting an original design flaw that complicated standalone film screenings. The museum and the San Francisco Film Society (presenters of the S.F. International Film Festival) inaugurate the refreshed screening room with three packed weekends of rare, vintage, cult and classic movies. A slew of beloved titles by Janus/Criterion icons from Bergman to Fassbinder screen Oct. 7 – 14 under the rubric “Haunted by Cinema,” with “Haunted Cinema” (Oct. 21 – 23) encompassing otherworldly films like \u003cem>Picnic at Hanging Rock\u003c/em> and \u003cem>Ugetsu\u003c/em>. Sandwiched in between, Thai filmmaker and ghost lover Apichatpong Weerasethakul is saluted Oct. 13 – 16 with an in-person retrospective augmented with works by Renoir, Bunuel, Polanski and Erice.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073440\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg\" alt=\"Gina Lewis (Michelle Williams) in Kelly Reichardt’s 'Certain Women'\" width=\"558\" height=\"600\" class=\"size-medium wp-image-12073440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-400x430.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-768x826.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-960x1033.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms.jpg 1096w\" sizes=\"(max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lewis (Michelle Williams) in Kelly Reichardt’s ‘Certain Women’ \u003ccite>(Photo: Nicole Rivelli/ Courtesy of IFC Films. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Certain Women\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 14\u003c/h5>\n\u003cp>Writer-director Kelly Reichardt (\u003cem>Wendy and Lucy\u003c/em>, \u003cem>Meek’s Cutoff\u003c/em>) is less interested in plot than character, which means she embraces levels of sensitivity and subtlety that are simply beyond most filmmakers. Reichardt relishes placing female characters in positions of uncharted responsibility, then seeing how they deal with both explicit and ingrained male obstruction. She adapts and weaves the short stories of Montana author Maile Meloy this time out, in collaboration with longtime cohort Michelle Williams, the great Laura Dern, the underrated Kristen Stewart and newcomer Lily Gladstone. (Did I overlook the men in the cast? Dear me.) \u003cem>Certain Women\u003c/em> debuted at Sundance and plays the prestigious New York Film Festival before opening theatrically.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073441\" class=\"wp-caption alignleft\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg\" alt=\"Mahershala Ali in 'Moonlight'\" width=\"735\" height=\"600\" class=\"size-medium wp-image-12073441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie.jpg 932w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Mahershala Ali in ‘Moonlight’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Moonlight\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 28\u003c/h5>\n\u003cp>With his wonderful San Francisco-set directorial debut, \u003cem>Medicine for Melancholy\u003c/em> (2008), Florida-to-Bay Area transplant Barry Jenkins broke out in a way that only a tiny handful of local narrative filmmakers ever had. His long-awaited follow-up, based on Tarell Alvin McCraney’s play \u003cem>In Moonlight Black Boys Look Blue\u003c/em>, follows a gay black man from childhood into adulthood, from Miami’s bullying streets out to the wider world. The theme of black men loving black men, and James Laxton’s gorgeous photography, puts me in mind of \u003cem>Tongues Untied\u003c/em>, Marlon Riggs’ sensual and uncompromising 1989 declaration of independence, manhood, sex and poetry.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073249\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg\" alt=\"Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\" width=\"800\" height=\"555\" class=\"size-medium wp-image-12073249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>American Pastoral\u003c/em>\u003c/h3>\n\u003ch5>Opens Friday, Oct. 28\u003c/h5>\n\u003cp>A film (or three) with a literary pedigree is as sure a sign of fall as football and leaf-strewn sidewalks. Ewan McGregor makes his directorial debut with a wrenching adaptation of Phillip Roth’s 1997 Pulitzer Prize-winning novel, smartly surrounding himself with actor’s actors David Strathairn, Peter Riegert, Molly Parker, Rupert Evans, Dakota Fanning and Jennifer Connelly. The British matinee idol also stars as Seymour “Swede” Levov, a successful New Jersey factory owner whose self-assured, midcentury grip on the American Dream is broken by ‘60s radicalism that arises in his own family. The release of \u003cem>American Pastoral\u003c/em> just before Election Day is not wholly accidental. Halloween horror aside, fall movies are more than entertainment.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11997801/fall-movie-guide-women-and-men-on-the-verge","authors":["22"],"series":["arts_1493"],"categories":["arts_74"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_12073250","label":"arts_1493"},"arts_11984313":{"type":"posts","id":"arts_11984313","meta":{"index":"posts_1591205157","site":"arts","id":"11984313","score":null,"sort":[1473951616000]},"guestAuthors":[],"slug":"we-are-the-world-international-music-in-the-fall","title":"We Are the World: International Music in the Fall","publishDate":1473951616,"format":"standard","headTitle":"We Are the World: International Music in the Fall | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12037699\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The advent of fall can feel like a door closing. Summer travel plans that came to naught get put on the shelf with a wistful sigh. Maybe next year. Fortunately, musicians tour for a living, and some of world’s most exciting recording artists are heading this way with sounds that can transport you as surely as a 747. Maybe you didn’t make it to Rio, Seville, or Timbuktu (or maybe you did, in which case you can torment us homebodies on Instagram). All the more reason to exult in music from redolent of distant lands.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984496\" class=\"wp-caption alignleft\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984496 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-521x600.jpg\" alt=\"Thomas Mapfumo, the patriarch of Chimurenga music, plays Ashkenaz on Sept. 15. \" width=\"521\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-521x600.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-768x884.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1025x1180.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1920x2210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1180x1358.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-960x1105.jpg 960w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Mapfumo, the patriarch of Chimurenga music, plays Ashkenaz on Sept. 15. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Thomas Mapfumo and Blacks Unlimited\u003c/h3>\n\u003ch5>Sept. 15\u003cbr>\nAshkenaz, Berkeley\u003cbr>\n\u003ca href=\"http://www.ashkenaz.com\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The iconic Zimbabwean musician Thomas Mapfumo still lives in exile in Portland, Ore., while the dictator who chased him from home continues to wreak havoc on the benighted south African nation. Still, there’s no one better at Chimurenga music, the style he invented and popularized by transposed sacred Shona rhythms and cadences onto chiming electric guitars, which was a radical sound that came to fruition in the midst of the 1970s anti-colonial struggle that gave birth to Zimbabwe.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984498\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984498\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_%C2%A9CarlosPeric%C3%A1s-5535-800x533.jpg\" alt=\"Cuban diva Omara Portuondo. Photo by Carlos Pericás. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuban diva Omara Portuondo. Photo by Carlos Pericás.\u003c/figcaption>\u003c/figure>\n\u003ch3>Omara Portuondo\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/omara-portuondo\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 2\u003cbr>\nWeill Concert Hall, Sonoma State\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3182110-from-the-buena-vista-social-club\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For her 85\u003csup>th\u003c/sup> birthday, the beguiling Cuban diva Omara Portuondo is touring with a glittering cast of special guests, including Cuban piano master Roberto Fonseca, Detroit-reared jazz violin star Regina Carter, and Israeli reed expert Anat Cohen. Drawing on a verdant trove of Latin Amerian standards she’s performed over the course of seven decades, Portuondo continues to make the most of a resurgence sparked by the various Buena Vista Social Club enterprises.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984499\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984499\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-600x600.jpg\" alt=\"Emel Mathlouthi\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2.jpg 1729w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emel Mathlouthi\u003c/figcaption>\u003c/figure>\n\u003ch3>Emel Mathlouthi\u003c/h3>\n\u003ch5>Oct. 5\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/emel-mathlouthi\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most outstanding musicians to emerge out of the wreckage of the Arab Spring, Tunisian singer/songwriter Emel Mathlouthi embodies the defiance, hope, and flickering flame of democracy sparked by the 2010 protests in her country. Delivering her clarion vocals over a mix of North African rythyms and electronic beats, Mathlouthi is getting set to release her second album, a collaboration with Tunisia’s Amine Metani and Iceland’s Valgeir Sigurðsson, who has worked with Björk collaborator.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984500\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-800x533.jpg\" alt=\"Luisa Maita\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luisa Maita\u003c/figcaption>\u003c/figure>\n\u003ch3>Luisa Maita\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/1273063-luisa-maita-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Luisa Maita last performed in the Bay Area some four years ago she was riding high from the release of her hit debut album “Lero-Lero” (Cumbancha Discovery), which earned her the equivalent of the coveted Best New Artist Grammy Award at the 22\u003csup>nd \u003c/sup>Annual Brazilian Music Awards. The scion of a celebrated musical clan from São Paulo, she returns with a sensuous follow up, \u003cem>Fio da Memóri\u003c/em> (Cumbancha), a beguiling blend of Brazilian pop styles.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984501\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984501\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Basiani-800x531.jpg\" alt=\"Ensemble Basiani\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Basiani\u003c/figcaption>\u003c/figure>\n\u003ch3>Ensemble Basiani\u003c/h3>\n\u003ch5>Oct. 16\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/ensemble-basiani\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 21\u003cbr>\nFirst Congregational Church, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/choral-festival/ensemble-basiani.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A 14-member all-male choir from Georgia, Ensemble Basiani rigorously researches and breathes life back into folk songs, monastic chants, epic ballads and traditional hymns from the ancient Caucauses. With striking polyphony and harmonies can sound otherworldly to North American ears, this music embodies an embattled nation still struggling to define itself in the post-Soviet era.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984502\" class=\"wp-caption alignleft\" style=\"max-width: 509px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984502 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-509x600.jpg\" alt=\"Tomatito. Photo by Ana Palma.\" width=\"509\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-509x600.jpg 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-400x471.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-768x905.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1002x1180.jpg 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1920x2262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1180x1390.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-960x1131.jpg 960w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003cfigcaption class=\"wp-caption-text\">Tomatito. Photo by Ana Palma.\u003c/figcaption>\u003c/figure>\n\u003ch3>Tomatito Sextet\u003c/h3>\n\u003ch5>Oct. 22\u003cbr>\nHerbst Theater, San Francisco\u003cbr>\n\u003ca href=\"http://omniconcerts.com/advanced-tickets-tomatito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 23\u003cbr>\nWeill Hall, Green Music Center, Sonoma\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3123027-tomatito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A protégé of Paco de Lucia who proved his mettle as a dazzling accompanist to legendary flamenco singer Camarón de la Isla, Tomatito (aka José Fernández Torres) has earned his status as flamenco’s preeminent guitarist. Featuring second guitarist José del Tomate, percussionist Israel “Piraña” Suárez, dancer José Maya, and Kiki Cortiñas and Morenito de Illora on vocals and palmas, his sextet is a pure shot of Andalucian soul.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984503\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984503\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-800x533.jpg\" alt=\"Mariza\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariza \u003ccite>(Photo\" Courtesy of World Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mariza\u003c/h3>\n\u003ch5>Oct. 27-30\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"https://sfjazz.org/events/2016-17/1027/mariza\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Growing up in Lisbon’s tradition-bound Mouraria neighborhood, Mariza was weaned on fado at her parents cantina, and she started singing at the age of five, earning the nickname “The Little Bird.” A leading force in the fado revival, she’s an innovator steeped in the music’s history with a throaty voice that can comand a hall without a microphone. Commissioning new material setting contemporary Portuegese poetry to music, she’s a captivating presence as she stalks the stage, passionately delivering songs about the vicisstudes of fate, love, and loss.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-800x450.jpg\" alt=\"Seu Jorge plays Bowie. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seu Jorge plays Bowie.\u003c/figcaption>\u003c/figure>\n\u003ch3>Seu Jorge\u003c/h3>\n\u003ch5>Nov. 25\u003cbr>\nThe Regency Ballroom, San Francisco\u003cbr>\n\u003ca href=\"http://www.theregencyballroom.com/events/detail/313305\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Brazilian singer/songwriter Seu Jorge made an indelible impression in Wes Anderson’s 2004 film “The Life Aquatic with Steve Zissou” as a shipmate crooning David Bowie tunes in Portuguese with a gentle samba groove. He returns to this felicitous pairing on his tour A Life Aquatic – A Tribute to David Bowie, a production complete with a stage designed like a film set, including boat sails serving as screens for video projection.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984505\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984505\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-600x600.jpg\" alt=\"Trio da Kali perform on a double bill Afropop Spectacular with Ethiopian vocal legend Mahmoud Ahmed. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trio da Kali perform on a double bill Afropop Spectacular with Ethiopian vocal legend Mahmoud Ahmed.\u003c/figcaption>\u003c/figure>\n\u003ch3>Afropop Spectacular: Mahmoud Ahmed & Trio da Kali\u003c/h3>\n\u003ch5>Nov. 4\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/afropop-spectacular-mahmoud-ahmed-trio-da-kali.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Don’t let the program’s anodyne title dissuade you. A key figure in the 1970s flowering of Ethiopian pop music, vocalist Mahmoud Ahmed is an international star who has forged deep ties with an array of American musicians. Still a force at 75, he’s a dynamo on stage with a vast catalog of memorable songs. Hailing from Mali, Trio da Kali made their Bay Area debut two years ago as part of Kronos Quartet’s 40\u003csup>th\u003c/sup> anniversary celebration. Born into hereditary roles as purveyors of Mande culture, the group features powerhouse vocalist Hawa Kasse Mady Diabaté (daughter of storied griot Kasse Mady Diabaté), Toumani Diabaté balafonist Lassana Diabaté, and Mamadou Kouyaté, the eldest son of the renowned Bassekou Kouyaté, on bass ngoni.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984506\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Cuband-600x600.jpg\" alt=\"The Cuband plays Oakland's Caña Cuban Parlor and Café every Sunday. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband.jpg 642w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Cuband plays Oakland’s Caña Cuban Parlor and Café every Sunday.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Cuband\u003c/h3>\n\u003ch5>Sundays afternoons\u003cbr>\nCaña Cuban Parlor and Café, Oakland\u003cbr>\n\u003ca href=\"http://canaoakland.com/events/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the only Bay Area ensembles made up entirely of Cuban musicians, the Cuband knows how to get dancers moving, but this rising ensemble is honing a sound that also rewards close listening. Directed by pianist/arranger Eduardo Corzo, the group draws on rumba and Latin jazz, reggae and son, blues, funk, and rock.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Sure, summer's over and you won't be taking any trips for a while. Let these musicians transport you to far-off places.","status":"publish","parent":0,"modified":1705033022,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1180},"headData":{"title":"We Are the World: International Music in the Fall | KQED","description":"Sure, summer's over and you won't be taking any trips for a while. Let these musicians transport you to far-off places.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"We Are the World: International Music in the Fall","datePublished":"2016-09-15T15:00:16.000Z","dateModified":"2024-01-12T04:17:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11984313/we-are-the-world-international-music-in-the-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12037699\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The advent of fall can feel like a door closing. Summer travel plans that came to naught get put on the shelf with a wistful sigh. Maybe next year. Fortunately, musicians tour for a living, and some of world’s most exciting recording artists are heading this way with sounds that can transport you as surely as a 747. Maybe you didn’t make it to Rio, Seville, or Timbuktu (or maybe you did, in which case you can torment us homebodies on Instagram). All the more reason to exult in music from redolent of distant lands.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984496\" class=\"wp-caption alignleft\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984496 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-521x600.jpg\" alt=\"Thomas Mapfumo, the patriarch of Chimurenga music, plays Ashkenaz on Sept. 15. \" width=\"521\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-521x600.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-768x884.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1025x1180.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1920x2210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-1180x1358.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mukanya-Poster-image-4-e1473900966139-960x1105.jpg 960w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Mapfumo, the patriarch of Chimurenga music, plays Ashkenaz on Sept. 15. \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Thomas Mapfumo and Blacks Unlimited\u003c/h3>\n\u003ch5>Sept. 15\u003cbr>\nAshkenaz, Berkeley\u003cbr>\n\u003ca href=\"http://www.ashkenaz.com\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The iconic Zimbabwean musician Thomas Mapfumo still lives in exile in Portland, Ore., while the dictator who chased him from home continues to wreak havoc on the benighted south African nation. Still, there’s no one better at Chimurenga music, the style he invented and popularized by transposed sacred Shona rhythms and cadences onto chiming electric guitars, which was a radical sound that came to fruition in the midst of the 1970s anti-colonial struggle that gave birth to Zimbabwe.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984498\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984498\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_%C2%A9CarlosPeric%C3%A1s-5535-800x533.jpg\" alt=\"Cuban diva Omara Portuondo. Photo by Carlos Pericás. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BVSC_Omara_BCN2011_©CarlosPericás-5535.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuban diva Omara Portuondo. Photo by Carlos Pericás.\u003c/figcaption>\u003c/figure>\n\u003ch3>Omara Portuondo\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/omara-portuondo\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 2\u003cbr>\nWeill Concert Hall, Sonoma State\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3182110-from-the-buena-vista-social-club\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>For her 85\u003csup>th\u003c/sup> birthday, the beguiling Cuban diva Omara Portuondo is touring with a glittering cast of special guests, including Cuban piano master Roberto Fonseca, Detroit-reared jazz violin star Regina Carter, and Israeli reed expert Anat Cohen. Drawing on a verdant trove of Latin Amerian standards she’s performed over the course of seven decades, Portuondo continues to make the most of a resurgence sparked by the various Buena Vista Social Club enterprises.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984499\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984499\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-600x600.jpg\" alt=\"Emel Mathlouthi\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Emel-mathlouthi-2.jpg 1729w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emel Mathlouthi\u003c/figcaption>\u003c/figure>\n\u003ch3>Emel Mathlouthi\u003c/h3>\n\u003ch5>Oct. 5\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/emel-mathlouthi\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most outstanding musicians to emerge out of the wreckage of the Arab Spring, Tunisian singer/songwriter Emel Mathlouthi embodies the defiance, hope, and flickering flame of democracy sparked by the 2010 protests in her country. Delivering her clarion vocals over a mix of North African rythyms and electronic beats, Mathlouthi is getting set to release her second album, a collaboration with Tunisia’s Amine Metani and Iceland’s Valgeir Sigurðsson, who has worked with Björk collaborator.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984500\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-800x533.jpg\" alt=\"Luisa Maita\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/luisa_maita_2_by_julia_braga-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luisa Maita\u003c/figcaption>\u003c/figure>\n\u003ch3>Luisa Maita\u003c/h3>\n\u003ch5>Oct. 10\u003cbr>\nYoshi’s, Oakland\u003cbr>\n\u003ca href=\"http://www.yoshis.com/event/1273063-luisa-maita-oakland/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>When Luisa Maita last performed in the Bay Area some four years ago she was riding high from the release of her hit debut album “Lero-Lero” (Cumbancha Discovery), which earned her the equivalent of the coveted Best New Artist Grammy Award at the 22\u003csup>nd \u003c/sup>Annual Brazilian Music Awards. The scion of a celebrated musical clan from São Paulo, she returns with a sensuous follow up, \u003cem>Fio da Memóri\u003c/em> (Cumbancha), a beguiling blend of Brazilian pop styles.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984501\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984501\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Basiani-800x531.jpg\" alt=\"Ensemble Basiani\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-1920x1275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Basiani-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Basiani\u003c/figcaption>\u003c/figure>\n\u003ch3>Ensemble Basiani\u003c/h3>\n\u003ch5>Oct. 16\u003cbr>\nBing Concert Hall, Stanford University\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/ensemble-basiani\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 21\u003cbr>\nFirst Congregational Church, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/choral-festival/ensemble-basiani.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A 14-member all-male choir from Georgia, Ensemble Basiani rigorously researches and breathes life back into folk songs, monastic chants, epic ballads and traditional hymns from the ancient Caucauses. With striking polyphony and harmonies can sound otherworldly to North American ears, this music embodies an embattled nation still struggling to define itself in the post-Soviet era.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984502\" class=\"wp-caption alignleft\" style=\"max-width: 509px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11984502 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-509x600.jpg\" alt=\"Tomatito. Photo by Ana Palma.\" width=\"509\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-509x600.jpg 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-400x471.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-768x905.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1002x1180.jpg 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1920x2262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-1180x1390.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/tomatito3-by-anapalma-e1473901014993-960x1131.jpg 960w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003cfigcaption class=\"wp-caption-text\">Tomatito. Photo by Ana Palma.\u003c/figcaption>\u003c/figure>\n\u003ch3>Tomatito Sextet\u003c/h3>\n\u003ch5>Oct. 22\u003cbr>\nHerbst Theater, San Francisco\u003cbr>\n\u003ca href=\"http://omniconcerts.com/advanced-tickets-tomatito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003cbr>\nOct. 23\u003cbr>\nWeill Hall, Green Music Center, Sonoma\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3123027-tomatito\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A protégé of Paco de Lucia who proved his mettle as a dazzling accompanist to legendary flamenco singer Camarón de la Isla, Tomatito (aka José Fernández Torres) has earned his status as flamenco’s preeminent guitarist. Featuring second guitarist José del Tomate, percussionist Israel “Piraña” Suárez, dancer José Maya, and Kiki Cortiñas and Morenito de Illora on vocals and palmas, his sextet is a pure shot of Andalucian soul.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984503\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984503\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-800x533.jpg\" alt=\"Mariza\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mariza-courtesy-World-Connection-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariza \u003ccite>(Photo\" Courtesy of World Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Mariza\u003c/h3>\n\u003ch5>Oct. 27-30\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"https://sfjazz.org/events/2016-17/1027/mariza\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Growing up in Lisbon’s tradition-bound Mouraria neighborhood, Mariza was weaned on fado at her parents cantina, and she started singing at the age of five, earning the nickname “The Little Bird.” A leading force in the fado revival, she’s an innovator steeped in the music’s history with a throaty voice that can comand a hall without a microphone. Commissioning new material setting contemporary Portuegese poetry to music, she’s a captivating presence as she stalks the stage, passionately delivering songs about the vicisstudes of fate, love, and loss.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984504\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-800x450.jpg\" alt=\"Seu Jorge plays Bowie. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/jorge-seu-50303e37897df-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seu Jorge plays Bowie.\u003c/figcaption>\u003c/figure>\n\u003ch3>Seu Jorge\u003c/h3>\n\u003ch5>Nov. 25\u003cbr>\nThe Regency Ballroom, San Francisco\u003cbr>\n\u003ca href=\"http://www.theregencyballroom.com/events/detail/313305\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Brazilian singer/songwriter Seu Jorge made an indelible impression in Wes Anderson’s 2004 film “The Life Aquatic with Steve Zissou” as a shipmate crooning David Bowie tunes in Portuguese with a gentle samba groove. He returns to this felicitous pairing on his tour A Life Aquatic – A Tribute to David Bowie, a production complete with a stage designed like a film set, including boat sails serving as screens for video projection.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984505\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984505\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-600x600.jpg\" alt=\"Trio da Kali perform on a double bill Afropop Spectacular with Ethiopian vocal legend Mahmoud Ahmed. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Afropop-Spectacular-1-credit-courtesy-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Trio da Kali perform on a double bill Afropop Spectacular with Ethiopian vocal legend Mahmoud Ahmed.\u003c/figcaption>\u003c/figure>\n\u003ch3>Afropop Spectacular: Mahmoud Ahmed & Trio da Kali\u003c/h3>\n\u003ch5>Nov. 4\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/afropop-spectacular-mahmoud-ahmed-trio-da-kali.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Don’t let the program’s anodyne title dissuade you. A key figure in the 1970s flowering of Ethiopian pop music, vocalist Mahmoud Ahmed is an international star who has forged deep ties with an array of American musicians. Still a force at 75, he’s a dynamo on stage with a vast catalog of memorable songs. Hailing from Mali, Trio da Kali made their Bay Area debut two years ago as part of Kronos Quartet’s 40\u003csup>th\u003c/sup> anniversary celebration. Born into hereditary roles as purveyors of Mande culture, the group features powerhouse vocalist Hawa Kasse Mady Diabaté (daughter of storied griot Kasse Mady Diabaté), Toumani Diabaté balafonist Lassana Diabaté, and Mamadou Kouyaté, the eldest son of the renowned Bassekou Kouyaté, on bass ngoni.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11984506\" class=\"wp-caption alignleft\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11984506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Cuband-600x600.jpg\" alt=\"The Cuband plays Oakland's Caña Cuban Parlor and Café every Sunday. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Cuband.jpg 642w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Cuband plays Oakland’s Caña Cuban Parlor and Café every Sunday.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Cuband\u003c/h3>\n\u003ch5>Sundays afternoons\u003cbr>\nCaña Cuban Parlor and Café, Oakland\u003cbr>\n\u003ca href=\"http://canaoakland.com/events/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the only Bay Area ensembles made up entirely of Cuban musicians, the Cuband knows how to get dancers moving, but this rising ensemble is honing a sound that also rewards close listening. Directed by pianist/arranger Eduardo Corzo, the group draws on rumba and Latin jazz, reggae and son, blues, funk, and rock.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11984313/we-are-the-world-international-music-in-the-fall","authors":["86"],"series":["arts_1493"],"categories":["arts_69"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_12069537","label":"arts_1493"},"arts_12066016":{"type":"posts","id":"arts_12066016","meta":{"index":"posts_1591205157","site":"arts","id":"12066016","score":null,"sort":[1473879617000]},"guestAuthors":[],"slug":"rockstar-life-6-music-memoirs-for-big-fans-and-curious-observers","title":"Rockstar Life: 6 Music Memoirs for Big Fans and Curious Observers","publishDate":1473879617,"format":"standard","headTitle":"Rockstar Life: 6 Music Memoirs for Big Fans and Curious Observers | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Memoirs have been a staple of rock music books for decades, but after the best-selling success of Patti Smith’s \u003cem>Just Kids\u003c/em> and Keith Richards’s \u003cem>Life\u003c/em> in 2010, the trickle’s become a deluge. This fall sees several tell-alls from superstars, cult icons, ex-wives and virtual unknowns. Their tales span surf music, psychedelia, punk, glam, indie and more, often within the same volume. No matter what your taste, the choice is wide, with enough spilled beans to satisfy both nerdy collectors and celebrity gossip hounds.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068219\" class=\"wp-caption alignleft\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-397x600.jpg\" alt=\"'I am Brian Wilson: A Memoir' by Brian Wilson\" width=\"397\" height=\"600\" class=\"size-medium wp-image-12068219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson.jpg 620w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">‘I am Brian Wilson: A Memoir’ by Brian Wilson\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I Am Brian Wilson: A Memoir\u003c/em>\u003c/h3>\n\u003ch5>by Brian Wilson with Ben Greenman\u003cbr>\n320 pages, Publication date: Oct. 11\u003c/h5>\n\u003cp>Instead of sequencing his story chronologically, the driving force behind the Beach Boys jumps back and forth between different episodes from birth to the present. It’s a bit like reading a lengthy blog, giving about as much weight to his 2010 album of Gershwin covers as the 1966 classic \u003cem>Pet Sounds\u003c/em>. Fortunately it does cover most of his and the Beach Boys’ albums, most of their famous songs (and many of their un-famous/infamous ones), and many of his major problems with his father, family, manipulative psychiatrist-of-sorts Eugene Landy, and mental illness. It’s highly readable and, at least for those who haven’t scoured other sources of details about the Beach Boys’ career, very informative. Such was the detached tone, however, that I sometimes felt like Wilson was an observer of, rather than a participant, in his own life.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068214\" class=\"wp-caption alignleft\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-398x600.jpg\" alt=\"'Good Vibrations: My Life As A Beach Boy' by Mike Love\" width=\"398\" height=\"600\" class=\"size-medium wp-image-12068214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook.jpg 636w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Vibrations: My Life As A Beach Boy’ by Mike Love\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Good Vibrations: My Life As a Beach Boy\u003c/em>\u003c/h3>\n\u003ch5>by Mike Love with James S. Hirsch\u003cbr>\n446 pages, Publication date: Sept. 13\u003c/h5>\n\u003cp>The Beach Boys’ lead singer has been accused by some fans and critics of hindering the band’s artistic evolution, and specifically of sinking Brian Wilson’s unreleased-at-the-time \u003cem>Pet Sounds\u003c/em> follow-up \u003cem>Smile\u003c/em> by objecting to its avant-gardism. At times his book reads like a defensive rebuttal to those charges, but more often it’s a straightforward, unexpectedly humble account of the band’s oft-thrilling journey from garage surf music to classic orchestrated pop-rock and, in Love’s case, immersion in transcendental meditation. The volatile conflicts within the band (especially between Love and drummer Dennis Wilson) are not ignored, and considerable space is devoted to his struggles to win songwriting credits for many 1960s Beach Boys songs he recalls helping compose (in great detail). No matter what side you favor in such disputes, this is above-average for a rock star memoir that, to my surprise, I’d recommend above Brian Wilson’s for an overall look at the group’s history.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068217\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Surf-CityUSE-400x600.jpg\" alt=\"'Surf City: The Jan & Dean Story' By Dean Torrence\" width=\"400\" height=\"600\" class=\"size-medium wp-image-12068217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Surf-CityUSE-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Surf-CityUSE.jpg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Surf City: The Jan & Dean Story’\u003cbr>By Dean Torrence\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Surf City: The Jan & Dean Story\u003c/em>\u003c/h3>\n\u003ch5>by Dean Torrence\u003cbr>\n228 pages, Publication date: Sept. 13\u003c/h5>\n\u003cp>If you want a surf saga less contentious than the Beach Boys’ melodrama, Torrence’s tale is a likable, breezy ride through the career of Jan & Dean, the ‘60s’ second-most-popular surf’n’hot rod act. It’s a throwback to a more innocent time when two West L.A. teenagers could, by pluck and luck (specifically when Brian Wilson gave them a half-completed smash hit called “Surf City”), insert themselves into the city’s infant rock industry and become rock stars. It wasn’t as innocent as it seemed — Dean’s partner Jan Berry helped push their first single onto the chart by shoplifting copies from a store vital to industry surveys. Alas, the good times ended with a literal crash when Berry suffered brain damage in a horrific 1966 car accident. Although Torrence landed on his feet as a Grammy-winning graphic artist, his struggles to keep Jan in line on their reunion tours end the autobiography on a down note.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-400x569.jpg\" alt=\"'Perfect Day: An Intimate Portrait of Life with Lou Reed' By Bettye Kronstad\" width=\"400\" height=\"569\" class=\"size-thumbnail wp-image-12066025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-400x569.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-422x600.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Perfect Day: An Intimate Portrait of Life with Lou Reed’ By Bettye Kronstad\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Perfect Day: An Intimate Portrait of Life with Lou Reed\u003c/em>\u003c/h3>\n\u003cp>by Bettye Kronstad\u003cbr>\n288 pages, Publication date: Nov. 8\u003c/p>\n\u003cp>Life was unexpectedly perfect, or at least good, with Reed in the early 1970s, according to Kronstad, his girlfriend of the era (and, briefly, first wife). Getting seriously involved with the notorious singer-songwriter just after the Velvet Underground split, she found not a crazed wildman, but a sensitive poet who was getting back on his feet by moving back in with his parents in the suburbs of Long Island. The good times didn’t last, as Lou went back to abusing drugs and, unfortunately, psychologically attacking Kronstad, who left after one outburst too many in the middle of a 1973 European tour. Her detailed memories of her years by Reed’s side can make for sad, and at times, enervating reading as Lou’s attacks erode her self-worth. But a (mostly) good day with him in Central Park did serve as the inspiration for his song “Perfect Day.” Her recollections of that experience — along, less flatteringly, with how Lou used some of Kronstad’s stormy family history as the basis for his 1973 album \u003cem>Berlin\u003c/em> — in themselves make this worth perusing for Reed fanatics.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066023\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/BrixSmithBook-400x610.jpg\" alt=\"'The Rise, The Fall, and The Rise' by Brix Smith Start\" width=\"400\" height=\"610\" class=\"size-thumbnail wp-image-12066023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook-393x600.jpg 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook.jpg 518w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Rise, The Fall, and The Rise’ by Brix Smith Start\u003c/figcaption>\u003c/figure>\n\u003ch3>The Rise, The Fall, and The Rise\u003c/h3>\n\u003ch5>By Brix Smith Start\u003cbr>\n480 pages, Publication date: July 12\u003c/h5>\n\u003cp>As guitarist in long-lived British punk band the Fall, Brix Smith got to see manic Fall mainman Mark E. Smith up close and personal, especially as she was married to him for about half the 1980s during her first stint in the group. It’s another tale of near-idyllic romance — a whirlwind that saw Brix moving into his Manchester flat within weeks after she saw the Fall for the first time in Chicago — that quickly soured amidst Mark’s drugs, infidelity and mental cruelty. The book isn’t just for Fall fans, however, as it also documents Brix’s stranger-than-fiction path from a privileged L.A. childhood to the heart of the British underground rock scene, as well as a lengthy subsequent relationship with top classical violinist Nigel Kennedy. Smith writes with penetrating-if-occasionally-rambling insight, never more so when stating, “It seemed to me that the deterioration of our relationship was reflected in my dwindling songwriting credits.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066021\" class=\"wp-caption alignleft\" style=\"max-width: 404px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CraigSmithBook-404x600.jpg\" alt=\"'Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali' by Mike Stax\" width=\"404\" height=\"600\" class=\"size-medium wp-image-12066021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook-404x600.jpg 404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook-400x594.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook.jpg 510w\" sizes=\"(max-width: 404px) 100vw, 404px\">\u003cfigcaption class=\"wp-caption-text\">‘Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali’\u003cbr>by Mike Stax\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali\u003c/em>\u003c/h3>\n\u003ch5>by Mike Stax\u003cbr>\n240 pages, Publication date: Sept. 20\n\u003c/h5>\u003cp>Not technically a memoir, but as close as we’re going to get after the death of the subject. This is a stupendously thorough examination of an All-American guy who seemed to have it all, only to have it all go down the tubes. Talented ‘60s folk-rock singer-songwriter Craig Smith made the unlikely transition from wholesome Andy Williams backup musician to Mike Nesmith-produced band the Penny Arkade, leaving for the “\u003ca href=\"https://en.wikipedia.org/wiki/Hippie_trail\" target=\"_blank\" rel=\"noopener\">hippie trail\u003c/a>” when the group failed to find a deal. When he returned from Asia at the end of the 1960s, he’d descended into mental illness and began recording eccentric-but-beguiling solo folk-rock LPs before serving time for assaulting his mother and enduring several decades of homelessness. Mike Stax unearthed a startling (and oft-disturbing) wealth of info considering Smith’s records were largely unreleased or unheard, though Craig crossed paths with everyone from the Monkees to Manson (and Brian Wilson and Mike Love, for that matter). It’s the dark side of the California dream that vaulted the likes of the Beach Boys and Monkees to worldwide fame, but left nearly-as-talented musicians like Smith (who died in his sleeping bag in North Hollywood Park in 2012) in the literal gutter.\n\u003c/p>\u003c/div>\n\u003cp>Other major fall memoirs of note will include Bruce Springsteen’s \u003cem>Born to Run\u003c/em> (Simon & Schuster, Sept. 27), whose 528 pages have already attracted press for detailing decades of struggle with depression’; and Robbie Robertson’s almost equally lengthy \u003cem>Testimony\u003c/em> (Crown Archetype, Nov. 15), much of which will tell the story of the Band from the guitarist-songwriter’s perspective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Music fans and drama lovers have a bountiful array of new books to read this fall about eccentric rock stars, both famous and unknown.","status":"publish","parent":0,"modified":1705033034,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1447},"headData":{"title":"Rockstar Life: 6 Music Memoirs for Big Fans and Curious Observers | KQED","description":"Music fans and drama lovers have a bountiful array of new books to read this fall about eccentric rock stars, both famous and unknown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rockstar Life: 6 Music Memoirs for Big Fans and Curious Observers","datePublished":"2016-09-14T19:00:17.000Z","dateModified":"2024-01-12T04:17:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Richie Unterberger","path":"/arts/12066016/rockstar-life-6-music-memoirs-for-big-fans-and-curious-observers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Memoirs have been a staple of rock music books for decades, but after the best-selling success of Patti Smith’s \u003cem>Just Kids\u003c/em> and Keith Richards’s \u003cem>Life\u003c/em> in 2010, the trickle’s become a deluge. This fall sees several tell-alls from superstars, cult icons, ex-wives and virtual unknowns. Their tales span surf music, psychedelia, punk, glam, indie and more, often within the same volume. No matter what your taste, the choice is wide, with enough spilled beans to satisfy both nerdy collectors and celebrity gossip hounds.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068219\" class=\"wp-caption alignleft\" style=\"max-width: 397px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-397x600.jpg\" alt=\"'I am Brian Wilson: A Memoir' by Brian Wilson\" width=\"397\" height=\"600\" class=\"size-medium wp-image-12068219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/I-am-Brian-Wilson.jpg 620w\" sizes=\"(max-width: 397px) 100vw, 397px\">\u003cfigcaption class=\"wp-caption-text\">‘I am Brian Wilson: A Memoir’ by Brian Wilson\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I Am Brian Wilson: A Memoir\u003c/em>\u003c/h3>\n\u003ch5>by Brian Wilson with Ben Greenman\u003cbr>\n320 pages, Publication date: Oct. 11\u003c/h5>\n\u003cp>Instead of sequencing his story chronologically, the driving force behind the Beach Boys jumps back and forth between different episodes from birth to the present. It’s a bit like reading a lengthy blog, giving about as much weight to his 2010 album of Gershwin covers as the 1966 classic \u003cem>Pet Sounds\u003c/em>. Fortunately it does cover most of his and the Beach Boys’ albums, most of their famous songs (and many of their un-famous/infamous ones), and many of his major problems with his father, family, manipulative psychiatrist-of-sorts Eugene Landy, and mental illness. It’s highly readable and, at least for those who haven’t scoured other sources of details about the Beach Boys’ career, very informative. Such was the detached tone, however, that I sometimes felt like Wilson was an observer of, rather than a participant, in his own life.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068214\" class=\"wp-caption alignleft\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-398x600.jpg\" alt=\"'Good Vibrations: My Life As A Beach Boy' by Mike Love\" width=\"398\" height=\"600\" class=\"size-medium wp-image-12068214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Good-Vibrationsbook.jpg 636w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">‘Good Vibrations: My Life As A Beach Boy’ by Mike Love\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Good Vibrations: My Life As a Beach Boy\u003c/em>\u003c/h3>\n\u003ch5>by Mike Love with James S. Hirsch\u003cbr>\n446 pages, Publication date: Sept. 13\u003c/h5>\n\u003cp>The Beach Boys’ lead singer has been accused by some fans and critics of hindering the band’s artistic evolution, and specifically of sinking Brian Wilson’s unreleased-at-the-time \u003cem>Pet Sounds\u003c/em> follow-up \u003cem>Smile\u003c/em> by objecting to its avant-gardism. At times his book reads like a defensive rebuttal to those charges, but more often it’s a straightforward, unexpectedly humble account of the band’s oft-thrilling journey from garage surf music to classic orchestrated pop-rock and, in Love’s case, immersion in transcendental meditation. The volatile conflicts within the band (especially between Love and drummer Dennis Wilson) are not ignored, and considerable space is devoted to his struggles to win songwriting credits for many 1960s Beach Boys songs he recalls helping compose (in great detail). No matter what side you favor in such disputes, this is above-average for a rock star memoir that, to my surprise, I’d recommend above Brian Wilson’s for an overall look at the group’s history.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12068217\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Surf-CityUSE-400x600.jpg\" alt=\"'Surf City: The Jan & Dean Story' By Dean Torrence\" width=\"400\" height=\"600\" class=\"size-medium wp-image-12068217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Surf-CityUSE-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Surf-CityUSE.jpg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Surf City: The Jan & Dean Story’\u003cbr>By Dean Torrence\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Surf City: The Jan & Dean Story\u003c/em>\u003c/h3>\n\u003ch5>by Dean Torrence\u003cbr>\n228 pages, Publication date: Sept. 13\u003c/h5>\n\u003cp>If you want a surf saga less contentious than the Beach Boys’ melodrama, Torrence’s tale is a likable, breezy ride through the career of Jan & Dean, the ‘60s’ second-most-popular surf’n’hot rod act. It’s a throwback to a more innocent time when two West L.A. teenagers could, by pluck and luck (specifically when Brian Wilson gave them a half-completed smash hit called “Surf City”), insert themselves into the city’s infant rock industry and become rock stars. It wasn’t as innocent as it seemed — Dean’s partner Jan Berry helped push their first single onto the chart by shoplifting copies from a store vital to industry surveys. Alas, the good times ended with a literal crash when Berry suffered brain damage in a horrific 1966 car accident. Although Torrence landed on his feet as a Grammy-winning graphic artist, his struggles to keep Jan in line on their reunion tours end the autobiography on a down note.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066025\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-400x569.jpg\" alt=\"'Perfect Day: An Intimate Portrait of Life with Lou Reed' By Bettye Kronstad\" width=\"400\" height=\"569\" class=\"size-thumbnail wp-image-12066025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-400x569.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook-422x600.jpg 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BettyeKronstadBook.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Perfect Day: An Intimate Portrait of Life with Lou Reed’ By Bettye Kronstad\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Perfect Day: An Intimate Portrait of Life with Lou Reed\u003c/em>\u003c/h3>\n\u003cp>by Bettye Kronstad\u003cbr>\n288 pages, Publication date: Nov. 8\u003c/p>\n\u003cp>Life was unexpectedly perfect, or at least good, with Reed in the early 1970s, according to Kronstad, his girlfriend of the era (and, briefly, first wife). Getting seriously involved with the notorious singer-songwriter just after the Velvet Underground split, she found not a crazed wildman, but a sensitive poet who was getting back on his feet by moving back in with his parents in the suburbs of Long Island. The good times didn’t last, as Lou went back to abusing drugs and, unfortunately, psychologically attacking Kronstad, who left after one outburst too many in the middle of a 1973 European tour. Her detailed memories of her years by Reed’s side can make for sad, and at times, enervating reading as Lou’s attacks erode her self-worth. But a (mostly) good day with him in Central Park did serve as the inspiration for his song “Perfect Day.” Her recollections of that experience — along, less flatteringly, with how Lou used some of Kronstad’s stormy family history as the basis for his 1973 album \u003cem>Berlin\u003c/em> — in themselves make this worth perusing for Reed fanatics.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066023\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/BrixSmithBook-400x610.jpg\" alt=\"'The Rise, The Fall, and The Rise' by Brix Smith Start\" width=\"400\" height=\"610\" class=\"size-thumbnail wp-image-12066023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook-393x600.jpg 393w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/BrixSmithBook.jpg 518w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Rise, The Fall, and The Rise’ by Brix Smith Start\u003c/figcaption>\u003c/figure>\n\u003ch3>The Rise, The Fall, and The Rise\u003c/h3>\n\u003ch5>By Brix Smith Start\u003cbr>\n480 pages, Publication date: July 12\u003c/h5>\n\u003cp>As guitarist in long-lived British punk band the Fall, Brix Smith got to see manic Fall mainman Mark E. Smith up close and personal, especially as she was married to him for about half the 1980s during her first stint in the group. It’s another tale of near-idyllic romance — a whirlwind that saw Brix moving into his Manchester flat within weeks after she saw the Fall for the first time in Chicago — that quickly soured amidst Mark’s drugs, infidelity and mental cruelty. The book isn’t just for Fall fans, however, as it also documents Brix’s stranger-than-fiction path from a privileged L.A. childhood to the heart of the British underground rock scene, as well as a lengthy subsequent relationship with top classical violinist Nigel Kennedy. Smith writes with penetrating-if-occasionally-rambling insight, never more so when stating, “It seemed to me that the deterioration of our relationship was reflected in my dwindling songwriting credits.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12066021\" class=\"wp-caption alignleft\" style=\"max-width: 404px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CraigSmithBook-404x600.jpg\" alt=\"'Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali' by Mike Stax\" width=\"404\" height=\"600\" class=\"size-medium wp-image-12066021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook-404x600.jpg 404w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook-400x594.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CraigSmithBook.jpg 510w\" sizes=\"(max-width: 404px) 100vw, 404px\">\u003cfigcaption class=\"wp-caption-text\">‘Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali’\u003cbr>by Mike Stax\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali\u003c/em>\u003c/h3>\n\u003ch5>by Mike Stax\u003cbr>\n240 pages, Publication date: Sept. 20\n\u003c/h5>\u003cp>Not technically a memoir, but as close as we’re going to get after the death of the subject. This is a stupendously thorough examination of an All-American guy who seemed to have it all, only to have it all go down the tubes. Talented ‘60s folk-rock singer-songwriter Craig Smith made the unlikely transition from wholesome Andy Williams backup musician to Mike Nesmith-produced band the Penny Arkade, leaving for the “\u003ca href=\"https://en.wikipedia.org/wiki/Hippie_trail\" target=\"_blank\" rel=\"noopener\">hippie trail\u003c/a>” when the group failed to find a deal. When he returned from Asia at the end of the 1960s, he’d descended into mental illness and began recording eccentric-but-beguiling solo folk-rock LPs before serving time for assaulting his mother and enduring several decades of homelessness. Mike Stax unearthed a startling (and oft-disturbing) wealth of info considering Smith’s records were largely unreleased or unheard, though Craig crossed paths with everyone from the Monkees to Manson (and Brian Wilson and Mike Love, for that matter). It’s the dark side of the California dream that vaulted the likes of the Beach Boys and Monkees to worldwide fame, but left nearly-as-talented musicians like Smith (who died in his sleeping bag in North Hollywood Park in 2012) in the literal gutter.\n\u003c/p>\u003c/div>\n\u003cp>Other major fall memoirs of note will include Bruce Springsteen’s \u003cem>Born to Run\u003c/em> (Simon & Schuster, Sept. 27), whose 528 pages have already attracted press for detailing decades of struggle with depression’; and Robbie Robertson’s almost equally lengthy \u003cem>Testimony\u003c/em> (Crown Archetype, Nov. 15), much of which will tell the story of the Band from the guitarist-songwriter’s perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12066016/rockstar-life-6-music-memoirs-for-big-fans-and-curious-observers","authors":["byline_arts_12066016"],"series":["arts_1493"],"categories":["arts_73"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_12068221","label":"arts_1493"},"arts_12032077":{"type":"posts","id":"arts_12032077","meta":{"index":"posts_1591205157","site":"arts","id":"12032077","score":null,"sort":[1473778825000]},"guestAuthors":[],"slug":"get-lost-lose-yourself-this-fall-in-these-bay-area-mazes","title":"Get Lost This Fall in These Bay Area Mazes","publishDate":1473778825,"format":"standard","headTitle":"Get Lost This Fall in These Bay Area Mazes | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>The term “pumpkin patch” is deceptive. Around fall, many of these so-called patches start to flank highways across the region with pumpkins being only one aspect of the scene. Petting zoos, pony rides, pie eating contests and those large wooden farmer/pig/scarecrow cutouts you and your loved ones stick your heads through number among the attractions visitors often come across. But sometimes there are mazes, too. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Who doesn’t love a good maze? In Dubai, the world’s \u003ca href=\"http://www.themeparkinsider.com/flume/201608/5237/\" target=\"_blank\" rel=\"noopener\">largest indoor theme park\u003c/a> features a maze. Known for their gardens, the United Kingdom boasts many hedge mazes. And in the United States our largest and most famous mazes are comprised of the crop that takes up \u003ca href=\"http://www.theatlantic.com/technology/archive/2016/08/seeing-corn-with-satellites/495149/\" target=\"_blank\" rel=\"noopener\">four percent of our country\u003c/a>: corn (although hay mazes are popular as well). A relatively new invention, the \u003ca href=\"http://americanmaze.com/about-the-american-maze/\">first cornfield maze \u003c/a>(or maize maze) was created in 1993 by Don Frantz and since its inception corn mazes have spread like, well, corn. \u003c/p>\n\u003cp>The Bay Area has a few mazes of its own, and here are some to check out when the pumpkin patches spring up again.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032282\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM-400x303.png\" alt=\"Arata Labyrinth Hay Maze\" width=\"400\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM-400x303.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM.png 657w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Labyrinth Hay Maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Arata’s Pumpkin Farm\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.aratapumpkinfarm.com/?pid=home\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Open for the season as of Sept. 4, this pumpkin farm is located off Highway One in Half Moon Bay. The Arata family has been in the pumpkin business since 1932 making the farm the oldest of its kind in San Mateo County, though since then they have definitely diversified their crops. There is a large corn field on the grounds, but return visitors know it’s all about the hay maze here. This year’s 2-acre minotaur labyrinth hay maze promises to challenge guests both intellectually and physically — will you be up for it? Admission to the maze costs $10 for adults and $8 for kids under 9. Children 3 and under are free.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032283\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-400x399.png\" alt=\"Petaluma Pumpkin Patch Corn Maze\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-400x399.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM.png 598w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma Pumpkin Patch Corn Maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Petaluma Pumpkin Patch\u003c/h3>\n\u003ch5>\u003ca href=\"http://petalumapumpkinpatch.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The business of agriculture isn’t easy, so in order to stay in the game farmer Jim Groverman got creative. To help bring in revenue Groverman and his wife Cindy have been operating the Petaluma Pumpkin Patch and Amazing Corn Maze, an annual spectacle of family fun they call “agro-tainment” for the past 20 years. Located off Highway 101, the patch opens to the public on Sept. 30 and closes the day after Halloween. Admission for the 4-acre corn maze costs free for kids 5 and under, and $6 for people 6 and older. Friday and Saturday evenings feature an opportunity to traverse the maze at night for some added mystery for just $9.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032284\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-400x209.jpg\" alt=\"Cool Patch Pumpkins maze in Dixon\" width=\"400\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-400x209.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world.jpg 780w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cool Patch Pumpkins maze in Dixon\u003c/figcaption>\u003c/figure>\n\u003ch3>Cool Patch Pumpkins\u003c/h3>\n\u003ch5>\u003ca href=\"http://coolpatchpumpkins.com/corn-maze\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Guinness World Records title holder for \u003ca href=\"http://www.guinnessworldrecords.com/world-records/largest-maze-temporary-corn-crop-maze\" target=\"_blank\" rel=\"noopener\">largest corn maze\u003c/a> is a day trip away in Dixon. Brothers Matt and Mark Cooley first nabbed the award back in 2007 and won again recently in 2014 with a 63-acre maze — 20 acres larger than their last winner. The Cool Patch Pumpkins maze returns this year on Sept. 17 and will stay open, along with the pumpkin patch, until Nov. 1. Be sure to stop at one of the elevated viewing platforms if you really get lost or to simply gauge your progress. The Cooleys also recommend dressing in layers and bringing a flashlight if you plan on going into at maze at night. The cost of admission is $15, kids under 5 get in for free.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032285\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/santarosacornmaze-400x180.jpg\" alt=\"Santa Rosa Pumpkin Patch corn maze\" width=\"400\" height=\"180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Pumpkin Patch corn maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Pumpkin Patch\u003c/h3>\n\u003ch5>\u003ca href=\"http://santarosapumpkinpatch.com/\">More Information\u003c/a>\u003c/h5>\n\u003cp>Can’t decide between corn and hay mazes? At this 20-acre farm you don’t have to choose. This year’s offerings at the Santa Rosa Pumpkin Patch include 8-acres of pumpkins, a 7-acre corn maze complete with a long and short course, a hay maze, petting zoo, face painting and lots of other family friendly activities. Starting on Sept. 30, $2 general admission grants guests access to a hay bale pyramid and the hay maze, while the $8 super ticket includes general features plus petting zoo and bounce house entry. $18 equals all-access: general and super items, the corn maze, a hay ride ticket and more.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"As the pumpkin patches begin to sprout along Bay Area highways, that means it's time for families to get lost -- in a few mazes!","status":"publish","parent":0,"modified":1705033045,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":721},"headData":{"title":"Get Lost This Fall in These Bay Area Mazes | KQED","description":"As the pumpkin patches begin to sprout along Bay Area highways, that means it's time for families to get lost -- in a few mazes!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Get Lost This Fall in These Bay Area Mazes","datePublished":"2016-09-13T15:00:25.000Z","dateModified":"2024-01-12T04:17:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"493756758","path":"/arts/12032077/get-lost-lose-yourself-this-fall-in-these-bay-area-mazes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “pumpkin patch” is deceptive. Around fall, many of these so-called patches start to flank highways across the region with pumpkins being only one aspect of the scene. Petting zoos, pony rides, pie eating contests and those large wooden farmer/pig/scarecrow cutouts you and your loved ones stick your heads through number among the attractions visitors often come across. But sometimes there are mazes, too. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Who doesn’t love a good maze? In Dubai, the world’s \u003ca href=\"http://www.themeparkinsider.com/flume/201608/5237/\" target=\"_blank\" rel=\"noopener\">largest indoor theme park\u003c/a> features a maze. Known for their gardens, the United Kingdom boasts many hedge mazes. And in the United States our largest and most famous mazes are comprised of the crop that takes up \u003ca href=\"http://www.theatlantic.com/technology/archive/2016/08/seeing-corn-with-satellites/495149/\" target=\"_blank\" rel=\"noopener\">four percent of our country\u003c/a>: corn (although hay mazes are popular as well). A relatively new invention, the \u003ca href=\"http://americanmaze.com/about-the-american-maze/\">first cornfield maze \u003c/a>(or maize maze) was created in 1993 by Don Frantz and since its inception corn mazes have spread like, well, corn. \u003c/p>\n\u003cp>The Bay Area has a few mazes of its own, and here are some to check out when the pumpkin patches spring up again.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032282\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM-400x303.png\" alt=\"Arata Labyrinth Hay Maze\" width=\"400\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM-400x303.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.43.01-PM.png 657w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Labyrinth Hay Maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Arata’s Pumpkin Farm\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.aratapumpkinfarm.com/?pid=home\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Open for the season as of Sept. 4, this pumpkin farm is located off Highway One in Half Moon Bay. The Arata family has been in the pumpkin business since 1932 making the farm the oldest of its kind in San Mateo County, though since then they have definitely diversified their crops. There is a large corn field on the grounds, but return visitors know it’s all about the hay maze here. This year’s 2-acre minotaur labyrinth hay maze promises to challenge guests both intellectually and physically — will you be up for it? Admission to the maze costs $10 for adults and $8 for kids under 9. Children 3 and under are free.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032283\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-400x399.png\" alt=\"Petaluma Pumpkin Patch Corn Maze\" width=\"400\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-400x399.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Screen-Shot-2016-09-02-at-2.41.29-PM.png 598w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma Pumpkin Patch Corn Maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Petaluma Pumpkin Patch\u003c/h3>\n\u003ch5>\u003ca href=\"http://petalumapumpkinpatch.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The business of agriculture isn’t easy, so in order to stay in the game farmer Jim Groverman got creative. To help bring in revenue Groverman and his wife Cindy have been operating the Petaluma Pumpkin Patch and Amazing Corn Maze, an annual spectacle of family fun they call “agro-tainment” for the past 20 years. Located off Highway 101, the patch opens to the public on Sept. 30 and closes the day after Halloween. Admission for the 4-acre corn maze costs free for kids 5 and under, and $6 for people 6 and older. Friday and Saturday evenings feature an opportunity to traverse the maze at night for some added mystery for just $9.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032284\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-400x209.jpg\" alt=\"Cool Patch Pumpkins maze in Dixon\" width=\"400\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-400x209.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Cool-Patch-Pumpkins-maze-Dixon-California-the-largest-corn-maze-in-the-world.jpg 780w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cool Patch Pumpkins maze in Dixon\u003c/figcaption>\u003c/figure>\n\u003ch3>Cool Patch Pumpkins\u003c/h3>\n\u003ch5>\u003ca href=\"http://coolpatchpumpkins.com/corn-maze\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Guinness World Records title holder for \u003ca href=\"http://www.guinnessworldrecords.com/world-records/largest-maze-temporary-corn-crop-maze\" target=\"_blank\" rel=\"noopener\">largest corn maze\u003c/a> is a day trip away in Dixon. Brothers Matt and Mark Cooley first nabbed the award back in 2007 and won again recently in 2014 with a 63-acre maze — 20 acres larger than their last winner. The Cool Patch Pumpkins maze returns this year on Sept. 17 and will stay open, along with the pumpkin patch, until Nov. 1. Be sure to stop at one of the elevated viewing platforms if you really get lost or to simply gauge your progress. The Cooleys also recommend dressing in layers and bringing a flashlight if you plan on going into at maze at night. The cost of admission is $15, kids under 5 get in for free.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12032285\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12032285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/santarosacornmaze-400x180.jpg\" alt=\"Santa Rosa Pumpkin Patch corn maze\" width=\"400\" height=\"180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/santarosacornmaze.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa Pumpkin Patch corn maze\u003c/figcaption>\u003c/figure>\n\u003ch3>Santa Rosa Pumpkin Patch\u003c/h3>\n\u003ch5>\u003ca href=\"http://santarosapumpkinpatch.com/\">More Information\u003c/a>\u003c/h5>\n\u003cp>Can’t decide between corn and hay mazes? At this 20-acre farm you don’t have to choose. This year’s offerings at the Santa Rosa Pumpkin Patch include 8-acres of pumpkins, a 7-acre corn maze complete with a long and short course, a hay maze, petting zoo, face painting and lots of other family friendly activities. Starting on Sept. 30, $2 general admission grants guests access to a hay bale pyramid and the hay maze, while the $8 super ticket includes general features plus petting zoo and bounce house entry. $18 equals all-access: general and super items, the corn maze, a hay ride ticket and more.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12032077/get-lost-lose-yourself-this-fall-in-these-bay-area-mazes","authors":["3212"],"series":["arts_1493"],"categories":["arts_71"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_12032072","label":"arts_1493"},"arts_12055843":{"type":"posts","id":"arts_12055843","meta":{"index":"posts_1591205157","site":"arts","id":"12055843","score":null,"sort":[1473692405000]},"guestAuthors":[],"slug":"happy-trails-five-reasons-fall-is-the-best-time-to-hike-in-the-bay-area","title":"Happy Trails: Five Reasons Fall is the Best Time to Hike in the Bay Area","publishDate":1473692405,"format":"image","headTitle":"Happy Trails: Five Reasons Fall is the Best Time to Hike in the Bay Area | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>Newcomers to the Bay Area, here’s an important tip: Just as summer is winter around here, fall is totally summer. In fall, the weather gets much hotter, there’s less wind, the sky is deep blue, and you can tell it to the tourists all you want and they’ll never believe you. Longtime Bay Areans are happy to let out-of-towners more or less have summer, because we know about September and October, the real (don’t say “Indian,” it’s tacky) summer. And that’s why we absolutely glory in autumnal walking, whether it’s on the awesomely steep city streets, or on some of our world-class trails and parkways. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If you’re a hiking newbie, it’s a good idea to use the \u003ca href=\"https://sierraclub.org/san-francisco-bay/hiking\" target=\"_blank\" rel=\"noopener\">Sierra Club’s Hike Ratings\u003c/a> to help you decide which ones are best for you. But basically, bring water, wear comfortable shoes, be aware and courteous, and you’re off to a world of fun. (Another word to the wise: Summer ends precisely at 4:30 p.m. October 31st, the exact moment it’s too late to thematically incorporate a large parka into your Halloween costume. Sorry.)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057315\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-400x692.jpg\" alt=\"Kids on the Ridge Trail\" width=\"400\" height=\"692\" class=\"size-thumbnail wp-image-12057315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-400x692.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-347x600.jpg 347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-768x1328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-682x1180.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-960x1660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil.jpg 1141w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kids on the Ridge Trail \u003ccite>(Photo: Joe Navratril)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bay Area Ridge Trail\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.ridgetrail.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The one that’s everywhere\u003c/strong>, including some residential streets in SF.\u003c/em>\u003cbr>\nWhen complete, the Bay Area Ridge Trail will be a 550-plus mile system stringing together 75 parks, a slew of historic sites, and a wide variety of communities, all connected to the incredible ring of mountains around our incredible bay. Today, over 350 miles of mountaintop trails are built, dedicated, and in vigorous use. Many miles of trail are also designed for wheelchair users. Magnificent views for all! One favorite segment inside city limits starts at the top of Twin Peaks, climbs down past a hidden reservoir at the foot of Sutro Tower, runs through some extremely steep residential streets, and heads for \u003ca href=\"http://sfrecpark.org/destination/mt-olympus/\" target=\"_blank\" rel=\"noopener\">Mount Olympus\u003c/a>, the little jewel of a hilltop park at the exact geographic center of the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057316\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-400x446.jpg\" alt=\"Heron's Head Park\" width=\"400\" height=\"446\" class=\"size-thumbnail wp-image-12057316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-400x446.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-538x600.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1058x1180.jpg 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1920x2141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-960x1071.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heron’s Head Park \u003ccite>(Photo: Liz Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Heron’s Head Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://sfport.com/herons-head-park\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The short one\u003c/strong>\u003c/em>\u003cbr>\nSome people think industrial wastelands are romantic. Many such arty types also, maybe secretly, love birdwatching. Is this you? Do you like to take short, windy walks through bizarre landscapes only to find strange metaphors at the end of a spit, while simultaneously adding a lesser scaup to your life list? Everyone walking in this desolate (yet meticulously maintained and excellently ecocentric) no-one’s-land is carrying a camera, and why not? Go ahead, wear black. All black. While hiking. If this is you, Heron’s Head is your place. Alternatively, if you just want a beautiful place to take the dog on a short leash-walk, or use the small-dog park, or attend an event at the kid-friendly EcoCenter, then Heron’s Head is also for you.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12056028\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-400x266.jpg\" alt=\"San Francisco, taken from San Bruno Mountains Summit Loop Trail\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-12056028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-960x638.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco, taken from San Bruno Mountains Summit Loop Trail \u003ccite>(Photo: San Mateo County Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Bruno Mountain\u003c/h3>\n\u003ch5>\u003ca href=\"http://parks.smcgov.org/san-bruno-mountain-state-county-park\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>\u003cem>The wild one\u003c/em>\u003c/strong>\u003cbr>\nSan Bruno Mountain has its own dedicated group of environmentalists looking out for it, that’s how special it is. The obsessed volunteers of the \u003ca href=\"http://www.mountainwatch.org/\" target=\"_blank\" rel=\"noopener\">San Bruno Mountain\u003c/a> call the park a “3,600-acre island of biodiversity surrounded by a sea of urbanization,” aka “the wilderness in San Francisco’s backyard.” Nine main trails, from the mostly flat Bog Trail to the Ridge Trail with its 564-foot elevation change, thread through this South San Francisco treasure. And take it from someone who found out the dumb way: Leave the dog at home.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057317\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-400x400.jpg\" alt=\"Twin Peaks\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-12057317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twin Peaks \u003ccite>(Photo: Melissa Loesgen, courtesy of SF Rec and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twin Peaks\u003c/h3>\n\u003ch5>\u003ca href=\"http://sfrecpark.org/destination/twin-peaks/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>\u003cem>The iconic one\u003c/em>\u003c/strong>\u003cbr>\nThe newly pedestrian and cyclist-friendly landmark is no more or less spectacular than it was before, but now hikers and bikers no longer have to cede the way to drivers who sometimes seemed to be acting out childhood Matchbox-car fantasies. The road around the two summits, once a figure-8, now hosts soft human bodies on the Eastern-facing, city-viewing side, and fast-moving metal machinery on the Western, ocean-facing side. This is especially stress-relieving for longtime San Francisco walkers after years of paranoiacally hugging that white cement foot-high divider while looking over their shoulders and trying to enjoy the view at the same time AKA walking right on the road. One tip: while there, be like the lupine-loving Mission Blue butterfly, and, as the website suggests, “Expect strong winds.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12056029\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-400x407.jpg\" alt=\"Rat Rock\" width=\"400\" height=\"407\" class=\"size-thumbnail wp-image-12056029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-400x407.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-590x600.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1161x1180.jpg 1161w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1920x1952.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1180x1200.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-960x976.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rat Rock \u003ccite>(Photo: Courtesy of the Friends of China Camp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>China Camp \u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=466\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The hidden one \u003c/strong>\u003c/em>\u003cbr>\nOn the Bay side of San Rafael sits a marshy strip of land, largely protected from the wind. For many years it functioned as a successful Chinese-American shrimping village, whose charming small homes and work buildings are still onsite. Today the whole area is a stunning park with tons of shorebirds, a small walk-in campground, and maybe the best picnic areas on the entire Bay. A major bonus are the two extremely small islands: Jake’s Island is a charming, mysterious marsh-enclosed green bump. The impossible-looking Rat Rock, a cream-colored jut with a crown of scraggly bushes and maybe three and a half fearless trees may be too small to hold humans, but it’s pretty in-demand as a nesting site for geese. If you’re lucky, you may catch the lovely replica sailing ship the Grace Quan on the water, as well; \u003ca href=\"http://friendsofchinacamp.org/\" target=\"_blank\" rel=\"noopener\">the Friends of China Camp\u003c/a> volunteers maintain the shrimping village and run plenty of kids’ programming and lectures.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"If you're new to the Bay Area or just haven't taken the time to do the research, these trails will make you glad you left the house.","status":"publish","parent":0,"modified":1705033060,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":981},"headData":{"title":"Happy Trails: Five Reasons Fall is the Best Time to Hike in the Bay Area | KQED","description":"If you're new to the Bay Area or just haven't taken the time to do the research, these trails will make you glad you left the house.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Happy Trails: Five Reasons Fall is the Best Time to Hike in the Bay Area","datePublished":"2016-09-12T15:00:05.000Z","dateModified":"2024-01-12T04:17:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"493612550","path":"/arts/12055843/happy-trails-five-reasons-fall-is-the-best-time-to-hike-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Newcomers to the Bay Area, here’s an important tip: Just as summer is winter around here, fall is totally summer. In fall, the weather gets much hotter, there’s less wind, the sky is deep blue, and you can tell it to the tourists all you want and they’ll never believe you. Longtime Bay Areans are happy to let out-of-towners more or less have summer, because we know about September and October, the real (don’t say “Indian,” it’s tacky) summer. And that’s why we absolutely glory in autumnal walking, whether it’s on the awesomely steep city streets, or on some of our world-class trails and parkways. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If you’re a hiking newbie, it’s a good idea to use the \u003ca href=\"https://sierraclub.org/san-francisco-bay/hiking\" target=\"_blank\" rel=\"noopener\">Sierra Club’s Hike Ratings\u003c/a> to help you decide which ones are best for you. But basically, bring water, wear comfortable shoes, be aware and courteous, and you’re off to a world of fun. (Another word to the wise: Summer ends precisely at 4:30 p.m. October 31st, the exact moment it’s too late to thematically incorporate a large parka into your Halloween costume. Sorry.)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057315\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-400x692.jpg\" alt=\"Kids on the Ridge Trail\" width=\"400\" height=\"692\" class=\"size-thumbnail wp-image-12057315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-400x692.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-347x600.jpg 347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-768x1328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-682x1180.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil-960x1660.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CruzKidsJoeNavratil.jpg 1141w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kids on the Ridge Trail \u003ccite>(Photo: Joe Navratril)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bay Area Ridge Trail\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.ridgetrail.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The one that’s everywhere\u003c/strong>, including some residential streets in SF.\u003c/em>\u003cbr>\nWhen complete, the Bay Area Ridge Trail will be a 550-plus mile system stringing together 75 parks, a slew of historic sites, and a wide variety of communities, all connected to the incredible ring of mountains around our incredible bay. Today, over 350 miles of mountaintop trails are built, dedicated, and in vigorous use. Many miles of trail are also designed for wheelchair users. Magnificent views for all! One favorite segment inside city limits starts at the top of Twin Peaks, climbs down past a hidden reservoir at the foot of Sutro Tower, runs through some extremely steep residential streets, and heads for \u003ca href=\"http://sfrecpark.org/destination/mt-olympus/\" target=\"_blank\" rel=\"noopener\">Mount Olympus\u003c/a>, the little jewel of a hilltop park at the exact geographic center of the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057316\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-400x446.jpg\" alt=\"Heron's Head Park\" width=\"400\" height=\"446\" class=\"size-thumbnail wp-image-12057316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-400x446.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-538x600.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-768x857.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1058x1180.jpg 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1920x2141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-1180x1316.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14692795041_3bffbde53d_o-e1473663400386-960x1071.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heron’s Head Park \u003ccite>(Photo: Liz Henry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Heron’s Head Park\u003c/h3>\n\u003ch5>\u003ca href=\"http://sfport.com/herons-head-park\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The short one\u003c/strong>\u003c/em>\u003cbr>\nSome people think industrial wastelands are romantic. Many such arty types also, maybe secretly, love birdwatching. Is this you? Do you like to take short, windy walks through bizarre landscapes only to find strange metaphors at the end of a spit, while simultaneously adding a lesser scaup to your life list? Everyone walking in this desolate (yet meticulously maintained and excellently ecocentric) no-one’s-land is carrying a camera, and why not? Go ahead, wear black. All black. While hiking. If this is you, Heron’s Head is your place. Alternatively, if you just want a beautiful place to take the dog on a short leash-walk, or use the small-dog park, or attend an event at the kid-friendly EcoCenter, then Heron’s Head is also for you.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12056028\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-400x266.jpg\" alt=\"San Francisco, taken from San Bruno Mountains Summit Loop Trail\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-12056028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/San-Bruno-Mountain-Summit-Loop-Trail-005-960x638.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco, taken from San Bruno Mountains Summit Loop Trail \u003ccite>(Photo: San Mateo County Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Bruno Mountain\u003c/h3>\n\u003ch5>\u003ca href=\"http://parks.smcgov.org/san-bruno-mountain-state-county-park\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>\u003cem>The wild one\u003c/em>\u003c/strong>\u003cbr>\nSan Bruno Mountain has its own dedicated group of environmentalists looking out for it, that’s how special it is. The obsessed volunteers of the \u003ca href=\"http://www.mountainwatch.org/\" target=\"_blank\" rel=\"noopener\">San Bruno Mountain\u003c/a> call the park a “3,600-acre island of biodiversity surrounded by a sea of urbanization,” aka “the wilderness in San Francisco’s backyard.” Nine main trails, from the mostly flat Bog Trail to the Ridge Trail with its 564-foot elevation change, thread through this South San Francisco treasure. And take it from someone who found out the dumb way: Leave the dog at home.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12057317\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-400x400.jpg\" alt=\"Twin Peaks\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-12057317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Melissa-Loesgen-TP-2nd-Peak-600x400-e1473664204497-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Twin Peaks \u003ccite>(Photo: Melissa Loesgen, courtesy of SF Rec and Parks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Twin Peaks\u003c/h3>\n\u003ch5>\u003ca href=\"http://sfrecpark.org/destination/twin-peaks/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>\u003cem>The iconic one\u003c/em>\u003c/strong>\u003cbr>\nThe newly pedestrian and cyclist-friendly landmark is no more or less spectacular than it was before, but now hikers and bikers no longer have to cede the way to drivers who sometimes seemed to be acting out childhood Matchbox-car fantasies. The road around the two summits, once a figure-8, now hosts soft human bodies on the Eastern-facing, city-viewing side, and fast-moving metal machinery on the Western, ocean-facing side. This is especially stress-relieving for longtime San Francisco walkers after years of paranoiacally hugging that white cement foot-high divider while looking over their shoulders and trying to enjoy the view at the same time AKA walking right on the road. One tip: while there, be like the lupine-loving Mission Blue butterfly, and, as the website suggests, “Expect strong winds.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12056029\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-400x407.jpg\" alt=\"Rat Rock\" width=\"400\" height=\"407\" class=\"size-thumbnail wp-image-12056029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-400x407.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-590x600.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-768x781.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1161x1180.jpg 1161w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1920x1952.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-1180x1200.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-960x976.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2886-e1473664901774-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rat Rock \u003ccite>(Photo: Courtesy of the Friends of China Camp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>China Camp \u003c/h3>\n\u003ch5>\u003ca href=\"http://www.parks.ca.gov/?page_id=466\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>\u003cem>\u003cstrong>The hidden one \u003c/strong>\u003c/em>\u003cbr>\nOn the Bay side of San Rafael sits a marshy strip of land, largely protected from the wind. For many years it functioned as a successful Chinese-American shrimping village, whose charming small homes and work buildings are still onsite. Today the whole area is a stunning park with tons of shorebirds, a small walk-in campground, and maybe the best picnic areas on the entire Bay. A major bonus are the two extremely small islands: Jake’s Island is a charming, mysterious marsh-enclosed green bump. The impossible-looking Rat Rock, a cream-colored jut with a crown of scraggly bushes and maybe three and a half fearless trees may be too small to hold humans, but it’s pretty in-demand as a nesting site for geese. If you’re lucky, you may catch the lovely replica sailing ship the Grace Quan on the water, as well; \u003ca href=\"http://friendsofchinacamp.org/\" target=\"_blank\" rel=\"noopener\">the Friends of China Camp\u003c/a> volunteers maintain the shrimping village and run plenty of kids’ programming and lectures.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12055843/happy-trails-five-reasons-fall-is-the-best-time-to-hike-in-the-bay-area","authors":["8641"],"series":["arts_1493"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_1118","arts_1006","arts_596","arts_973"],"featImg":"arts_12056028","label":"arts_1493"},"arts_11972383":{"type":"posts","id":"arts_11972383","meta":{"index":"posts_1591205157","site":"arts","id":"11972383","score":null,"sort":[1473361236000]},"guestAuthors":[],"slug":"curtain-call-for-screens-7-kid-friendly-theater-events","title":"Curtain Call for Screens: 7 Kid-Friendly Performances","publishDate":1473361236,"format":"standard","headTitle":"Curtain Call for Screens: 7 Kid-Friendly Performances | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Need to take away the screens from your children and get them out of the house? We have a few options for you.","status":"publish","parent":0,"modified":1705033089,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":955},"headData":{"title":"Curtain Call for Screens: 7 Kid-Friendly Performances | KQED","description":"Need to take away the screens from your children and get them out of the house? We have a few options for you.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Curtain Call for Screens: 7 Kid-Friendly Performances","datePublished":"2016-09-08T19:00:36.000Z","dateModified":"2024-01-12T04:18:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11972383/curtain-call-for-screens-7-kid-friendly-theater-events","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A few weeks ago my 2-and-a-half-year-old son asked to go to the opera, and he’s repeated that every couple of days since then. To me, it’s a sign that all that prenatal Wagner (\u003ca href=\"http://operatattler.typepad.com/opera/bayreuther_festspiele/\" target=\"_blank\" rel=\"noopener\">7 operas in 9 days\u003c/a>) affected him, and I needed to support this interest in a medium I love. Doing a little research, I found that the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> offers programming for 3 to 5 year olds, gave a \u003cem>Magic Flute\u003c/em> \u003ca href=\"http://sfopera.com/expired-pages/first-act-papagenos-pop-up-adventure/\" target=\"_blank\" rel=\"noopener\">workshop\u003c/a> back in March, and plans to do the same with \u003cem>Hansel and Gretel\u003c/em> and \u003cem>The Little Prince\u003c/em> in the coming months. \u003c/p>\n\u003cp>I also found plenty of other events that will satisfy any child bit by the theater/Opera bug, and here are seven that are sure to please.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026900\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg\" alt=\"Shanghai Acrobats of the People's Republic of China\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-785x1180.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1920x2886.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-1180x1774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Shanghai-Acrobats-3-credit-courtesy.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shanghai Acrobats of the People’s Republic of China perform at UC Berkeley and Sonoma State this September. \u003ccite>(Photo: Shanghai Acrobats of the People's Republic of China)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Shanghai Acrobats of the People’s Republic of China\u003c/h3>\n\u003ch5>Sept. 10\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/shanghai-acrobats-of-the-peoples-republic-of-china-shanghai-nights.php\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25\u003cbr>\nWeill Hall, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/event/3140777-shanghai-acrobats-of-the-people-s-republic\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This acrobatic troupe makes stops at UC Berkeley and Sonoma State as part of a US tour. Featuring more than a hundred performers, this two-hour spectacle is sure to be colorful and includes aerial silks, unicyclists, hoop-diving and juggling. Considered “For Families” by Cal Performances, tickets are half price for those 16-and-under. Children 2 and under do not require a ticket at Green Music Center but must sit on the lap of an adult.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024657\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024657\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg\" alt=\"Opera in the Park\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/operainthepark_stefancohen1.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera in the Park returns to Sharon Meadow on September 11. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Opera in the Park\u003c/h3>\n\u003ch5>Sept. 11\u003cbr>\nSharon Meadow, Golden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This free annual event is part of San Francisco Opera’s opening festivities, so it’s very likely you’ll hear some of the stars in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chénier\u003c/em>\u003c/a> and \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> sing arias in a relaxed setting. The performance begins at a nap unfriendly time, but you can always show up in the morning around 10am and hear the rehearsal. If your kid ends up hating opera music, you can easily retreat to the nearby \u003ca href=\"https://goldengatepark.com/childrens-playground.html\" target=\"_blank\" rel=\"noopener\">Children’s Quarter\u003c/a>, one of the nicest playgrounds in the city.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg\" alt=\"Seussical\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/seussical_publicity_web.jpg 1508w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Phil Wong plays The Cat in the Hat in BACT’s Seussical this fall. \u003ccite>(Photo: Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Seussical\u003c/em>\u003c/h3>\n\u003ch5>Oct. 8 – Nov. 6\u003cbr>\nFreight & Salvage, Berkeley\u003cbr>\nNov. 19 – Dec. 11\u003cbr>\nChildren’s Creativity Museum Theater, San Francisco\u003cbr>\n\u003ca href=\"https://bactheatre.org/shows/Seussical\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) presents \u003cem>Seussical\u003c/em>, a musical based on various stories by Dr. Seuss, hosted by none other than The Cat in the Hat. Featuring characters from \u003cem>Horton Hears a Who!\u003c/em>, \u003cem>Horton Hatches the Egg\u003c/em>, and \u003cem>Miss Gertrude McFuzz\u003c/em>, this colorful work comes from Tony-winners Lynn Ahrens and Stephen Flaherty. BACT opted for the young audiences version of the piece, which runs 75 minutes — perfect for kids 3 and up.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12026901\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12026901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg\" alt=\"Stanford Live Open House\" width=\"400\" height=\"221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ArtsOpenHouse_YutoWatanabe-thumb_0.jpg 1770w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanford Live hosts free arts open house on October 9. \u003ccite>(Photo: Yuto Watanabe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Inside / Out: Arts Open House\u003c/h3>\n\u003ch5>Oct. 9\u003cbr>\nBing Concert Hall Gunn Atrium, Palo Alto\u003cbr>\n\u003ca href=\"https://live.stanford.edu/calendar/october-2016/inside-out-arts-open-house\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Stanford Live celebrates its 125th anniversary with an all ages open house of live performance. Featured acts include electric harp, percussion, and cello trio \u003ca href=\"http://www.stringquake.com/\" target=\"_blank\" rel=\"noopener\">StringQuake\u003c/a>, African-themed performing arts group \u003ca href=\"http://www.oriki.org/\" target=\"_blank\" rel=\"noopener\">Oriki Theater\u003c/a>, and \u003ca href=\"http://web.stanford.edu/group/calypso/cgi-bin/\" target=\"_blank\" rel=\"noopener\">Cardinal Calypso\u003c/a>, Stanford’s steel pan band. The afternoon also includes audience participation and crafts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024846\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg\" alt=\"Youth Orchestra Los Angeles\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Gustavo-Dudamel-Youth-Orchestra-Los-Angeles-3-credit-courtesy-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Youth Orchestra Los Angeles and Gustavo Dudamel perform in Oakland on October 30, 2016. \u003ccite>(Photo: LA Philharmonic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gustavo Dudamel and Youth Orchestra Los Angeles (YOLA) 10th Anniversary Tour\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nParamount Theatre, Oakland\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/chamber-orchestra/gustavo-dudamel-youth-orchestra-los-angeles.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Cal Performances presents LA Philharmonic’s Youth Orchestra conducted by superstar Maestro Gustavo Dudamel. The 80 young musicians range from 12 to 18 years old, and come from underserved communities throughout Los Angeles. Playing works by Beethoven, Brahms, Dvorak, Bernstein, and John Williams, the general admission tickets for the 45 minute event are only $5.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024847\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024847\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg\" alt=\"Dia de los Muertos Concert\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/dayofdead187-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony presents Dia de los Muertos concerts on November 5. \u003ccite>(Photo: Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Dia de los Muertos Community Concert\u003c/h3>\n\u003ch5>Nov. 5\u003cbr>\nDavies Symphony Hall, San Francisco\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Dia-de-los-Muertos-Community-Concert.aspx\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>This annual family-friendly event celebrates Latino culture with live music, dancing, and crafts in the lobby of Davies an hour before a concert on the stage. Featured artists include bands \u003ca href=\"http://lasantacecilia.com/\" target=\"_blank\" rel=\"noopener\">La Santa Cecilia \u003c/a>and \u003ca href=\"http://www.mariachinyc.com/\" target=\"_blank\" rel=\"noopener\">Mariachi Flor de Toloache\u003c/a>, theater group \u003ca href=\"http://circulocultural.org/\" target=\"_blank\" rel=\"noopener\">Círculo Cultural\u003c/a>, and the Women of the San Francisco Symphony Chorus. Adult tickets start at $20 and tickets for kids (recommended for those 7 and up) are half price.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12024658\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-12024658\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg\" alt=\"Amazing Grace\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/OperaParallele_AaliyahHamilton_photo_by_Alejandro_Palacios.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Opera Parallèle’s Hands-on-Opera program works with elementary schools to produce children’s operas. This year’s opera is Xochitl and the Flowers. \u003ccite>(Photo: Alejandro Palacios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Xochitl and the Flowers\u003c/em>\u003c/h3>\n\u003ch5>Nov. 17 and Nov. 19\u003cbr>\nMission Cultural Center for Latino Arts, San Francisco\u003cbr>\n\u003ca href=\"https://operaparallele.org/xochitl-and-the-flowers/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>\u003ca href=\"https://operaparallele.org/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle\u003c/a> (OP) is partnering with Alvarado Elementary School’s 3rd grade Spanish immersion program to bring \u003cem>Xochitl and the Flowers\u003c/em> by composer \u003ca href=\"http://www.pratorius.com/\" target=\"_blank\" rel=\"noopener\">Christopher Pratorius\u003c/a> to life. Based on \u003ca href=\"http://www.jorgeargueta.com/\" target=\"_blank\" rel=\"noopener\">Jorge Argueta\u003c/a>‘s bilingual book of the same name, with a libretto by Roma Olvera, the story is based on real events in San Francisco’s Mission neighborhood, focusing on the Salvadoran immigrant experience. This fourth foray into children’s opera for the fearless opera company follows last year’s \u003ca href=\"https://operaparallele.org/amazing-grace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which featured a children’s chorus made of 4th and 5th grade students from St. Martin de Porres Catholic School.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11972383/curtain-call-for-screens-7-kid-friendly-theater-events","authors":["8660"],"series":["arts_1493"],"categories":["arts_69","arts_1003","arts_967"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_12039241","label":"arts_1493"},"arts_11993356":{"type":"posts","id":"arts_11993356","meta":{"index":"posts_1591205157","site":"arts","id":"11993356","score":null,"sort":[1473292808000]},"guestAuthors":[],"slug":"escape-the-distractions-and-see-these-ten-dance-events","title":"Escape the Distractions and See these Ten Dance Events","publishDate":1473292808,"format":"standard","headTitle":"Escape the Distractions and See these Ten Dance Events | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>Fall is upon us and we’re desperately trying to dodge the howling sirocco of the presidential election campaign. Seeking new distractions now that the throbbing beat of samba, bossa nova and funk from Rio is a distant echo, now that the glorious sight of athletes flying through the air and synchronously swimming is a distant memory. Stop trying to parse the rapping Chihuahua, the naked woman swimming in a fish tank, and the unnerving sight of Frank Ocean self-immolating in \u003cem>Blond/Blonde\u003c/em>.\u003c/p>\n\u003cp>Rather, give thanks for the mind-blowing array of dance around the Bay Area. Here are 10 must-see things-involving-dance this fall:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993543\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg\" alt=\"The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva.jpg 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival 25th anniversary season\u003c/h3>\n\u003ch5>Sept. 14 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/west_wave25\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance may be the most expensive art to produce, and, in tough economic times like these, \u003ca href=\"https://www.sfcv.org/music-news/silicon-valley-ballet-shuts-down\" target=\"_blank\" rel=\"noopener\">dance companies are vulnerable\u003c/a>. That is why the continued flourishing of West Wave Dance over the past 25 years seems like a veritable miracle. Fans can ring in the next quarter-century through five nights packed with 25 troupes and solo performers on the spectrum from household name to undiscovered, who are pushing the frontiers of ballet, belly dance, bharatanatyam, and more. Each will present a new work on themes that touch on the casualties of war, stereotypes of beauty, the stresses faced by African American boys, the hilarity of romance gone wrong, a modern-day Frankenstein, and other surprising things you didn’t think could be danced. The line up includes Oakland Ballet, 13th Floor, Anjal Chande/The Soham Dance Project, BodiGram, Mary Carbonara Dances, The Milissa Payne Project, and FatChanceBellyDance.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993544\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jess Curtis/Gravity and Claire Cunningham: \u003cem>The Way You Look (At Me) Tonight\u003c/em>\u003c/h3>\n\u003ch5>Sept. 29 – Oct 9\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"http://www.counterpulse.org/event/gravity-claire-cunningham/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>A decade after their first encounter, Curtis and Cunningham reunite for this duet that combines movement, song, story-telling, and video. U.K.-based Cunningham is renowned for her exploration of the creative possibilities that spring from physical disability and the tools created to mitigate it – in her case, crutches. In this world premiere, the pair assess their perceptions of each other – as a man and a woman of different ages, bodies and backgrounds. Curtis’ previous work presages an evening that will be provocative and whimsical. Click \u003ca href=\"https://www.youtube.com/watch?v=CiRIqPU6arc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993545\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993545\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg\" alt=\"The Silk Road Ensemble (Photo: Todd Rosenberg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Silk Road Ensemble (Photo: Todd Rosenberg)\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group: \u003cem>Layla and Majnun\u003c/em>\u003c/h3>\n\u003ch5>Sept. 30 – Oct 2\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Handel, Mozart, Stravinsky — Mark Morris has been there, done that. His latest evening-length extravaganza is an updating of the first Middle Eastern opera, written in 1908 by Azerbaijani composer Uzeyir Hajibeyli. Centered on an ancient Persian tale of thwarted romance, Layla and Manjun provides the backdrop for Morris’ modern exploration of themes of love, tragedy and social justice. Renowned Azerbaijani singer Alim Qasimov performs with his daughter Fargana Qasimova, accompanied by the musicians of the Silk Road Ensemble. Click \u003ca href=\"https://www.youtube.com/watch?v=bS8ztsh6jt4\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to learn more about the production from Morris himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11997666\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11997666 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg\" alt=\"Embodiment Project (Photo: Andrew Weeks)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rama Mahesh Hall and Dante “Animal” Rose of Embodiment Project (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater: \u003cem>Welcome Home @ 40\u003c/em>\u003c/h3>\n\u003ch5>Oct. 18 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/theater_innerpage.php?linkid=11&categid=209\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>They drove to San Francisco from Oberlin, Ohio, in a yellow school bus in 1976. They never left. This fall, the indefatigable Brenda Way and collaborators celebrate 40 years of history-making dance performances in the theater they built in San Francisco’s Mission District. Festivities include the premiere of a piece of documentary dance theater by Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a> on the subject of street violence and police brutality. And choreographer Christy Funsch will lead a series of “Wrecking Sessions” in which other artists will be invited to tinker with her work.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993546\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993546\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg\" alt=\"Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1920x1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dance Theatre of San Francisco: \u003cem>Unspoken\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – 13\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.dancetheatersf.org/#!dtsf-screenseries/q8w1h\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Still in its adolescence, the repertory company Dance Theatre of San Francisco eschews a live season this fall to bring us \u003cem>Unspoken\u003c/em>, a dance film collaboration between choreographer and artistic director Dexandro “D” Montalvo and visual artist RJ Muna. The mercurial soundscape by Daniel Berkman and Muna’s trademark shimmer show off this polished, classically trained company of nine at their sleekest and most mysterious.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993547\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg\" alt=\"'Kick Ball Change' (Photo: Guy Sadot)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Kick Ball Change,’ a Russian entry into this year’s San Francisco Dance Film Festival (Photo: Guy Sadot)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival \u003c/h3>\n\u003ch5>Oct. 19-23\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Kicking off with the heart-pounding dramatization of Rudolf Nureyev’s legendary escape from his KGB minders into the embrace of the French police in 1961, the festival veers from documentary to high-tech art films. Now in its seventh year, it continues to expand its reach, screening for the first time films from Slovakia, the Russian Federation, Peru, French Polynesia, Mexico, Argentina and Finland. U.S. premieres include \u003cem>Graceful Girls\u003c/em>, an inquiry into the competitive and uniquely Australian dance sport of Calisthenics. Closer to home, \u003cem>Pharaohs of Memphis\u003c/em> examines the origins of jookin’, a dance form that originated in Memphis to keep gang warfare at bay. Unique to the SFDFF is a ‘co-laboratory’ experiment that pairs choreographers with cinematographers and puts them under tight time pressure to invent something. This year, Nicole Klaymoon (with Joe Stillwater) and Deborah Slater (with Hervé Cohen) are in the hot seat. Click \u003ca href=\"https://vimeo.com/178976110/258af60e30\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the festival trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993548\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg\" alt=\"Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1180x750.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1920x1221.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimensions Dance Theater: \u003cem>Project Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from their electrifying performance of \u003cem>The Town on Notice\u003c/em> at the \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/why-are-there-so-few-opportunities-for-black-choreographers/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>, Dimensions Dance Theater revives \u003cem>Project Panther\u003c/em> to mark the occasion of the 50th anniversary of the founding of the Black Panther Party. The original 1996 dance theater piece examined the civic and humanitarian legacy of the Panthers, and their role as agents of social change. The script has been updated, as has the original score by Glen Pearson, which travels through the era of R&B and funk with a nod to the present-day world of hip-hop.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994268\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg\" alt=\"Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Trolley Dances \u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nStarts at: Eureka Valley/Harvey Milk Memorial Branch Library, San Francisco\u003cbr>\n\u003ca href=\"http://epiphanydance.org/work/trolley-dances\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance-loving fans of public transport will be in their element on this October weekend. They get to ride the Muni from the Castro to the Financial District/South of Market and, along the route, witness the marvels of the Chitresh Das Dance Company, Margaret Jenkins Dance Company, James Graham Dance Theatre, Monique Jenkinson a.k.a. Fauxnique, Laura Elaine Ellis, Parangal Dance Company and Epiphany Productions.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993549\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg\" alt=\"Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King LINES Ballet\u003c/h3>\n\u003ch5>Nov. 2 – 6\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"https://linesballet.org/performances/fall-season/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Alonzo King’s work is invariably a visual and aural splendor, and his dancers are finely chiseled and implausibly long-limbed. Their glories are flaunted this season in a new work, set to a score performed live by mezzo-soprano Maya Lahyani. This world premiere is paired with a revival of \u003cem>Meyer\u003c/em>, King’s collaboration with composer and bass virtuoso Edgar Meyer, performed against a backdrop of dripping water that adds an intriguing dimension to the lush score.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994267\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg\" alt=\"Joe Landini in 'SOMA Now and Then' (Photo: Robbie Sweeny)\" width=\"800\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1180x594.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1920x966.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-960x483.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini in ‘SOMA Now and Then’ (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Lewis and Joe Landini: \u003cem>SOMA Now and Then\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 4\u003cbr>\nStarts at: 1347 Folsom St./ Dore Alley, San Francisco\u003cbr>\n\u003ca href=\"http://www.pushproductions.org/events/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The historical transformation of the neighborhood south of Market, and concomitant shifts in queer culture from the raunchy 1980’s to today’s tech-fueled gentrification, are the twin subjects of this walking-dancing tour by Amy Lewis and Joe Landini (you walk, they dance.) Director-choreographer Lewis tackles the changes wrought by the 1906 earthquake and fire, the encroachment of the Bay Bridge, and the erection of the Moscone Center and Yerba Buena complex, while Landini guides us through back alleys and secret corridors. For mature audiences.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"As the echo of the drum beats from Rio fades away and Fall descends, here are ten not-to-miss dance performances this season.","status":"publish","parent":0,"modified":1705033101,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1430},"headData":{"title":"Escape the Distractions and See these Ten Dance Events | KQED","description":"As the echo of the drum beats from Rio fades away and Fall descends, here are ten not-to-miss dance performances this season.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Escape the Distractions and See these Ten Dance Events","datePublished":"2016-09-08T00:00:08.000Z","dateModified":"2024-01-12T04:18:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11993356/escape-the-distractions-and-see-these-ten-dance-events","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is upon us and we’re desperately trying to dodge the howling sirocco of the presidential election campaign. Seeking new distractions now that the throbbing beat of samba, bossa nova and funk from Rio is a distant echo, now that the glorious sight of athletes flying through the air and synchronously swimming is a distant memory. Stop trying to parse the rapping Chihuahua, the naked woman swimming in a fish tank, and the unnerving sight of Frank Ocean self-immolating in \u003cem>Blond/Blonde\u003c/em>.\u003c/p>\n\u003cp>Rather, give thanks for the mind-blowing array of dance around the Bay Area. Here are 10 must-see things-involving-dance this fall:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993543\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg\" alt=\"The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva.jpg 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival 25th anniversary season\u003c/h3>\n\u003ch5>Sept. 14 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/west_wave25\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance may be the most expensive art to produce, and, in tough economic times like these, \u003ca href=\"https://www.sfcv.org/music-news/silicon-valley-ballet-shuts-down\" target=\"_blank\" rel=\"noopener\">dance companies are vulnerable\u003c/a>. That is why the continued flourishing of West Wave Dance over the past 25 years seems like a veritable miracle. Fans can ring in the next quarter-century through five nights packed with 25 troupes and solo performers on the spectrum from household name to undiscovered, who are pushing the frontiers of ballet, belly dance, bharatanatyam, and more. Each will present a new work on themes that touch on the casualties of war, stereotypes of beauty, the stresses faced by African American boys, the hilarity of romance gone wrong, a modern-day Frankenstein, and other surprising things you didn’t think could be danced. The line up includes Oakland Ballet, 13th Floor, Anjal Chande/The Soham Dance Project, BodiGram, Mary Carbonara Dances, The Milissa Payne Project, and FatChanceBellyDance.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993544\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jess Curtis/Gravity and Claire Cunningham: \u003cem>The Way You Look (At Me) Tonight\u003c/em>\u003c/h3>\n\u003ch5>Sept. 29 – Oct 9\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"http://www.counterpulse.org/event/gravity-claire-cunningham/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>A decade after their first encounter, Curtis and Cunningham reunite for this duet that combines movement, song, story-telling, and video. U.K.-based Cunningham is renowned for her exploration of the creative possibilities that spring from physical disability and the tools created to mitigate it – in her case, crutches. In this world premiere, the pair assess their perceptions of each other – as a man and a woman of different ages, bodies and backgrounds. Curtis’ previous work presages an evening that will be provocative and whimsical. Click \u003ca href=\"https://www.youtube.com/watch?v=CiRIqPU6arc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993545\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993545\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg\" alt=\"The Silk Road Ensemble (Photo: Todd Rosenberg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Silk Road Ensemble (Photo: Todd Rosenberg)\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group: \u003cem>Layla and Majnun\u003c/em>\u003c/h3>\n\u003ch5>Sept. 30 – Oct 2\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Handel, Mozart, Stravinsky — Mark Morris has been there, done that. His latest evening-length extravaganza is an updating of the first Middle Eastern opera, written in 1908 by Azerbaijani composer Uzeyir Hajibeyli. Centered on an ancient Persian tale of thwarted romance, Layla and Manjun provides the backdrop for Morris’ modern exploration of themes of love, tragedy and social justice. Renowned Azerbaijani singer Alim Qasimov performs with his daughter Fargana Qasimova, accompanied by the musicians of the Silk Road Ensemble. Click \u003ca href=\"https://www.youtube.com/watch?v=bS8ztsh6jt4\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to learn more about the production from Morris himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11997666\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11997666 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg\" alt=\"Embodiment Project (Photo: Andrew Weeks)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rama Mahesh Hall and Dante “Animal” Rose of Embodiment Project (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater: \u003cem>Welcome Home @ 40\u003c/em>\u003c/h3>\n\u003ch5>Oct. 18 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/theater_innerpage.php?linkid=11&categid=209\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>They drove to San Francisco from Oberlin, Ohio, in a yellow school bus in 1976. They never left. This fall, the indefatigable Brenda Way and collaborators celebrate 40 years of history-making dance performances in the theater they built in San Francisco’s Mission District. Festivities include the premiere of a piece of documentary dance theater by Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a> on the subject of street violence and police brutality. And choreographer Christy Funsch will lead a series of “Wrecking Sessions” in which other artists will be invited to tinker with her work.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993546\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993546\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg\" alt=\"Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1920x1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dance Theatre of San Francisco: \u003cem>Unspoken\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – 13\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.dancetheatersf.org/#!dtsf-screenseries/q8w1h\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Still in its adolescence, the repertory company Dance Theatre of San Francisco eschews a live season this fall to bring us \u003cem>Unspoken\u003c/em>, a dance film collaboration between choreographer and artistic director Dexandro “D” Montalvo and visual artist RJ Muna. The mercurial soundscape by Daniel Berkman and Muna’s trademark shimmer show off this polished, classically trained company of nine at their sleekest and most mysterious.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993547\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg\" alt=\"'Kick Ball Change' (Photo: Guy Sadot)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Kick Ball Change,’ a Russian entry into this year’s San Francisco Dance Film Festival (Photo: Guy Sadot)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival \u003c/h3>\n\u003ch5>Oct. 19-23\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Kicking off with the heart-pounding dramatization of Rudolf Nureyev’s legendary escape from his KGB minders into the embrace of the French police in 1961, the festival veers from documentary to high-tech art films. Now in its seventh year, it continues to expand its reach, screening for the first time films from Slovakia, the Russian Federation, Peru, French Polynesia, Mexico, Argentina and Finland. U.S. premieres include \u003cem>Graceful Girls\u003c/em>, an inquiry into the competitive and uniquely Australian dance sport of Calisthenics. Closer to home, \u003cem>Pharaohs of Memphis\u003c/em> examines the origins of jookin’, a dance form that originated in Memphis to keep gang warfare at bay. Unique to the SFDFF is a ‘co-laboratory’ experiment that pairs choreographers with cinematographers and puts them under tight time pressure to invent something. This year, Nicole Klaymoon (with Joe Stillwater) and Deborah Slater (with Hervé Cohen) are in the hot seat. Click \u003ca href=\"https://vimeo.com/178976110/258af60e30\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the festival trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993548\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg\" alt=\"Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1180x750.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1920x1221.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimensions Dance Theater: \u003cem>Project Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from their electrifying performance of \u003cem>The Town on Notice\u003c/em> at the \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/why-are-there-so-few-opportunities-for-black-choreographers/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>, Dimensions Dance Theater revives \u003cem>Project Panther\u003c/em> to mark the occasion of the 50th anniversary of the founding of the Black Panther Party. The original 1996 dance theater piece examined the civic and humanitarian legacy of the Panthers, and their role as agents of social change. The script has been updated, as has the original score by Glen Pearson, which travels through the era of R&B and funk with a nod to the present-day world of hip-hop.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994268\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg\" alt=\"Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Trolley Dances \u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nStarts at: Eureka Valley/Harvey Milk Memorial Branch Library, San Francisco\u003cbr>\n\u003ca href=\"http://epiphanydance.org/work/trolley-dances\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance-loving fans of public transport will be in their element on this October weekend. They get to ride the Muni from the Castro to the Financial District/South of Market and, along the route, witness the marvels of the Chitresh Das Dance Company, Margaret Jenkins Dance Company, James Graham Dance Theatre, Monique Jenkinson a.k.a. Fauxnique, Laura Elaine Ellis, Parangal Dance Company and Epiphany Productions.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993549\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg\" alt=\"Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King LINES Ballet\u003c/h3>\n\u003ch5>Nov. 2 – 6\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"https://linesballet.org/performances/fall-season/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Alonzo King’s work is invariably a visual and aural splendor, and his dancers are finely chiseled and implausibly long-limbed. Their glories are flaunted this season in a new work, set to a score performed live by mezzo-soprano Maya Lahyani. This world premiere is paired with a revival of \u003cem>Meyer\u003c/em>, King’s collaboration with composer and bass virtuoso Edgar Meyer, performed against a backdrop of dripping water that adds an intriguing dimension to the lush score.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994267\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg\" alt=\"Joe Landini in 'SOMA Now and Then' (Photo: Robbie Sweeny)\" width=\"800\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1180x594.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1920x966.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-960x483.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini in ‘SOMA Now and Then’ (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Lewis and Joe Landini: \u003cem>SOMA Now and Then\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 4\u003cbr>\nStarts at: 1347 Folsom St./ Dore Alley, San Francisco\u003cbr>\n\u003ca href=\"http://www.pushproductions.org/events/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The historical transformation of the neighborhood south of Market, and concomitant shifts in queer culture from the raunchy 1980’s to today’s tech-fueled gentrification, are the twin subjects of this walking-dancing tour by Amy Lewis and Joe Landini (you walk, they dance.) Director-choreographer Lewis tackles the changes wrought by the 1906 earthquake and fire, the encroachment of the Bay Bridge, and the erection of the Moscone Center and Yerba Buena complex, while Landini guides us through back alleys and secret corridors. For mature audiences.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11993356/escape-the-distractions-and-see-these-ten-dance-events","authors":["11206"],"series":["arts_1493"],"categories":["arts_966","arts_1003"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11993379","label":"arts_1493"},"arts_11980268":{"type":"posts","id":"arts_11980268","meta":{"index":"posts_1591205157","site":"arts","id":"11980268","score":null,"sort":[1473206410000]},"guestAuthors":[],"slug":"fall-visual-arts-picks-be-sure-to-see-these-eight-exhibits","title":"Uplifting Art for Uncertain Times: 8 Exhibits You Can't Miss This Fall","publishDate":1473206410,"format":"standard","headTitle":"Uplifting Art for Uncertain Times: 8 Exhibits You Can’t Miss This Fall | KQED","labelTerm":{"term":1493,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>2016 has been a rough year. We lost incredible talent in the music and film industries. We witnessed unspeakable acts of violence against black, brown, LGBTQ and — above all — innocent bodies. Our endless election cycle has brought out the worst in everyone. And it’s not over yet.\u003c/p>\n\u003cp>Where do we turn in times like these? For many, the arts — music, dance, theater and visual art — can provide solace and empowerment. And the leaders within those artistic communities — our mentors, heroes and elders — can provide purpose and direction.\u003c/p>\n\u003cp>Which is why it’s no surprise that in this very rough year, the fall visual arts season is filled with stately names, gestures of homage, and hero worship of the best and most inspiring variety.\u003c/p>\n\u003cfigure id=\"attachment_11980284\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640-400x300.jpg\" alt=\"Jill Magid, 'The Proposal' (detail), 2016.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11980284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jill Magid, ‘The Proposal’ (detail), 2016. \u003ccite>(Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">Jill Magid: The Proposal\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Walter and McBean Galleries, San Francisco Art Institute\u003cbr>\nSept. 9 – Dec. 10, 2016\u003c/h5>\n\u003cp>What happens when the professional archive of an important architect is inaccessible, locked away from researchers, writers and acolytes, with no sign of release? If you’re artist \u003ca href=\"http://www.jillmagid.com/\" target=\"_blank\" rel=\"noopener\">Jill Magid\u003c/a>, you devise an ambitious and multilayered project to address that withholding, laying bare the institutional power shaping Mexican architect Luis Barragán’s legacy. In \u003ci>The Proposal\u003c/i>, Magid presents Federica Zanco, director of the Barragan Foundation (Swiss home of the archive since 1995), with a two-carat diamond engagement ring made from Barragán’s ashes. Magid asks: Will Zanco accept “the body” of the man in exchange for the return of “the body of work” to Mexico?\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980294\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/prince_piano-400x342.jpeg\" alt=\"Libby Black, 'Sometimes it Snows in April.'\" width=\"400\" height=\"342\" class=\"size-thumbnail wp-image-11980294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/prince_piano-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/prince_piano.jpeg 562w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Libby Black, ‘Sometimes it Snows in April.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/after-pop-life\" target=\"_blank\" rel=\"noopener\">After Pop Life\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Minnesota Street Project, San Francisco\u003cbr>\nSep. 14 – Oct. 1\u003c/h5>\n\u003cp>\u003ci>After Pop Life\u003c/i> gathers over 30 contemporary artists to honor Prince, his legacy and “indelible personal style.” Curator Glen Helfand isn’t just interested in Prince’s past, but in the ways in which his spirit lives on — both publicly (on dance floors) and privately (as the beautiful background noise to some of our most meaningful moments). Expect princely artworks of all kinds at Minnesota Street: painting, drawing, photography, sculpture, installation and — naturally — a karaoke project.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_12001663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/pattihalprin-400x528.jpg\" alt=\"Patti Smith, ca. 1970; inkBoat, '95 Rituals,' 2015.\" width=\"400\" height=\"528\" class=\"size-thumbnail wp-image-12001663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin-400x528.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin-455x600.jpg 455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, ca. 1970; inkBoat, ’95 Rituals,’ 2015. \u003ccite>(Courtesy of The Patti Smith Collection, F. W. Olin Library, Mills College. Photo: Linda Smith Bianucci; inkBoat photo by Pak Han.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php#upcex4.php\" target=\"_blank\" rel=\"noopener\">Root Connection: 20 Years of the Patti Smith Collection\u003c/a>\u003c/i> & \u003ci>\u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php#upcex3.php\" target=\"_blank\" rel=\"noopener\">The 96th Ritual (for Anna Halprin)\u003c/a>\u003c/i>\n\u003ch3>\n\u003ch5>Mills College Art Museum, Oakland\u003cbr>\nSept. 14 – Dec. 11, 2016\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>Did you know Mills houses a Patti Smith Collection? Me either! Seize this opportunity to survey books, articles, photographs and ephemera by and about the great poet, singer-songwriter and artist. If her memoirs \u003ci>Just Kids\u003c/i> and \u003ci>M Train\u003c/i> left you hungering for more, Mills provides Polaroids, broadsides, vintage fan-zines and listening stations so you can perfect the knot in your own red neck-scarf.\u003c/p>\n\u003cp>Simultaneously, Mills pays tribute to local legend and post-modern dance pioneer Anna Halprin with documentation of \u003ci>95 Rituals\u003c/i>, \u003ca href=\"https://ww2.kqed.org/arts/2015/07/19/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier/\" target=\"_blank\" rel=\"noopener\">performed at San Francisco’s Hyde Street Pier\u003c/a> in honor of Halprin’s 95th birthday last year. An ephemeral event morphs into a continuous museum experience and we reap the benefits of Halprin’s continued influence on the Bay Area art scene.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-11980297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Oakland Museum of California, Oakland\u003cbr>\nOct. 8, 2016 – Feb. 12, 2017\u003c/h5>\n\u003cp>Founded in Oakland in October 1966, the Black Panther Party for Self Defense celebrates its 50th anniversary this year, and OMCA has gathered artifacts, oral histories and contemporary art to delve into both the beginnings of the party and its lasting influence. Among the museum’s holdings: still-trenchant Emory Douglas posters, historic photographs of the Panthers standing tall on the steps of the Alameda County Courthouse (steps away from OMCA), and works like \u003ca href=\"https://ww2.kqed.org/artschool/2015/09/04/shooting-hoops-with-an-astronaut-david-huffman/\" target=\"_blank\" rel=\"noopener\">David Huffman\u003c/a>’s mysterious \u003ci>Tree Huggers\u003c/i>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980286\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/connor640-400x267.jpg\" alt=\"Bruce Conner, 'Mexico Collage,' 1962. \" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11980286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/connor640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/connor640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Conner, ‘Mexico Collage,’ 1962. \u003ccite>(© 2016 Conner Family Trust, San Francisco / Artists Rights Society (ARS), New York; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bruce-conner-its-all-true/\" target=\"_blank\" rel=\"noopener\">Bruce Conner: It’s All True\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>San Francisco Museum of Modern Art, San Francisco\u003cbr>\nOct. 29, 2016 – Jan. 22, 2017\u003c/h5>\n\u003cp>The first major retrospective of the late, great Bruce Conner comes rightfully home to San Francisco after a warm-up showing at New York’s MoMA. Experimental film, photography, collage, conceptual art and painting reintroduce some of the pioneering artist’s lesser-known output over the course his five-decade career. SFMOMA reveals \u003ca href=\"https://museumstore.sfmoma.org/books/sfmoma-publications/bruce-conner-it-s-all-true.html\" target=\"_blank\" rel=\"noopener\">a hefty publication\u003c/a> to go along with this show, but for a more intimate peek into the final years of Conner’s life, look to J&L’s \u003ci>\u003ca href=\"http://www.jandlbooks.org/BCBH.html\" target=\"_blank\" rel=\"noopener\">Brass Handles\u003c/a>\u003c/i>, documentation of the handholds he used to navigate his Glen Park.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980288\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001-400x291.jpg\" alt=\"Ana Mendieta, Still from 'Creek,' 1974.\" width=\"400\" height=\"291\" class=\"size-thumbnail wp-image-11980288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001.jpg 578w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ana Mendieta, Still from ‘Creek,’ 1974. \u003ccite>(© The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong, New York.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.bampfa.berkeley.edu/program/covered-time-and-history-films-ana-mendieta\" target=\"_blank\" rel=\"noopener\">Covered in Time and History: The Films of Ana Mendieta\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>UC Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nNov. 9, 2016 – Feb. 12, 2017\u003c/h5>\n\u003cp>Like \u003ca href=\"https://ww2.kqed.org/arts/2016/08/17/overdue-eva-hesse-a-fitting-homage-to-sculptors-brief-brilliant-career/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>, Ana Mendieta is an artist who died far too young. She was 36 when she fell from her 34th-floor apartment window. (The question over whether or not her husband, artist Carl Andre, was responsible for her fall still prompts protests of his work, 31 years later.) Mendieta herself didn’t shy away from controversy or violence in her work. \u003ci>Covered in Time and History\u003c/i> gathers 21 film pieces that address everything from sexual assault to her own separation from home (Cuba) and family at the age of 12, to the elemental relationship between human bodies and nature.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980287\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378-400x254.jpg\" alt=\"Jessica Hines, from the series 'My Brother's War.'\" width=\"400\" height=\"254\" class=\"size-thumbnail wp-image-11980287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378.jpg 595w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hines, from the series ‘My Brother’s War.’ \u003ccite>(Courtesy of SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sfartscommission.org/gallery/2016/not-alone-exploring-bonds-between-and-with-members-of-the-armed-forces/\" target=\"_blank\" rel=\"noopener\">\u003ci>Not Alone: Exploring Bonds Between and With Members of the Armed Forces\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Arts Commission Gallery, San Francisco\u003cbr>\nNov. 9, 2016 – March 4, 2017\u003c/h5>\n\u003cp>How do we support the members of our armed forces and the veterans of our wars? \u003ci>Not Alone\u003c/i> goes beyond the terse “thank you for your service” to highlight artists working with US military personnel and veterans to build narratives about and with them. Notable contributors include ceramicist Ehren Tool, multimedia artists \u003ca href=\"https://ww2.kqed.org/arts/2016/04/06/berkeley-art-centers-agility-projects-allow-for-daring-reflections-on-cultural-identity/\" target=\"_blank\" rel=\"noopener\">Rodney Ewing\u003c/a> and Whitney Lynn, and journalist/photographer \u003ca href=\"https://ww2.kqed.org/arts/2013/02/24/the_work_of_jason_hanasik_and_berndnaut_smilde_in_conversation_at_san_francisco_arts_commission_gallery/\" target=\"_blank\" rel=\"noopener\">Jason Hanasik\u003c/a>, who also helped curate the exhibition.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The back-to-school season brings an exciting group of shows to Bay Area art spaces, with a focus on heroes both international and personal.","status":"publish","parent":0,"modified":1705033117,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1125},"headData":{"title":"Uplifting Art for Uncertain Times: 8 Exhibits You Can't Miss This Fall | KQED","description":"The back-to-school season brings an exciting group of shows to Bay Area art spaces, with a focus on heroes both international and personal.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Uplifting Art for Uncertain Times: 8 Exhibits You Can't Miss This Fall","datePublished":"2016-09-07T00:00:10.000Z","dateModified":"2024-01-12T04:18:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"493029401","path":"/arts/11980268/fall-visual-arts-picks-be-sure-to-see-these-eight-exhibits","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>2016 has been a rough year. We lost incredible talent in the music and film industries. We witnessed unspeakable acts of violence against black, brown, LGBTQ and — above all — innocent bodies. Our endless election cycle has brought out the worst in everyone. And it’s not over yet.\u003c/p>\n\u003cp>Where do we turn in times like these? For many, the arts — music, dance, theater and visual art — can provide solace and empowerment. And the leaders within those artistic communities — our mentors, heroes and elders — can provide purpose and direction.\u003c/p>\n\u003cp>Which is why it’s no surprise that in this very rough year, the fall visual arts season is filled with stately names, gestures of homage, and hero worship of the best and most inspiring variety.\u003c/p>\n\u003cfigure id=\"attachment_11980284\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640-400x300.jpg\" alt=\"Jill Magid, 'The Proposal' (detail), 2016.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-11980284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Gallery640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jill Magid, ‘The Proposal’ (detail), 2016. \u003ccite>(Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">Jill Magid: The Proposal\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Walter and McBean Galleries, San Francisco Art Institute\u003cbr>\nSept. 9 – Dec. 10, 2016\u003c/h5>\n\u003cp>What happens when the professional archive of an important architect is inaccessible, locked away from researchers, writers and acolytes, with no sign of release? If you’re artist \u003ca href=\"http://www.jillmagid.com/\" target=\"_blank\" rel=\"noopener\">Jill Magid\u003c/a>, you devise an ambitious and multilayered project to address that withholding, laying bare the institutional power shaping Mexican architect Luis Barragán’s legacy. In \u003ci>The Proposal\u003c/i>, Magid presents Federica Zanco, director of the Barragan Foundation (Swiss home of the archive since 1995), with a two-carat diamond engagement ring made from Barragán’s ashes. Magid asks: Will Zanco accept “the body” of the man in exchange for the return of “the body of work” to Mexico?\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980294\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/prince_piano-400x342.jpeg\" alt=\"Libby Black, 'Sometimes it Snows in April.'\" width=\"400\" height=\"342\" class=\"size-thumbnail wp-image-11980294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/prince_piano-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/prince_piano.jpeg 562w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Libby Black, ‘Sometimes it Snows in April.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/after-pop-life\" target=\"_blank\" rel=\"noopener\">After Pop Life\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Minnesota Street Project, San Francisco\u003cbr>\nSep. 14 – Oct. 1\u003c/h5>\n\u003cp>\u003ci>After Pop Life\u003c/i> gathers over 30 contemporary artists to honor Prince, his legacy and “indelible personal style.” Curator Glen Helfand isn’t just interested in Prince’s past, but in the ways in which his spirit lives on — both publicly (on dance floors) and privately (as the beautiful background noise to some of our most meaningful moments). Expect princely artworks of all kinds at Minnesota Street: painting, drawing, photography, sculpture, installation and — naturally — a karaoke project.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_12001663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/pattihalprin-400x528.jpg\" alt=\"Patti Smith, ca. 1970; inkBoat, '95 Rituals,' 2015.\" width=\"400\" height=\"528\" class=\"size-thumbnail wp-image-12001663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin-400x528.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin-455x600.jpg 455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pattihalprin.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith, ca. 1970; inkBoat, ’95 Rituals,’ 2015. \u003ccite>(Courtesy of The Patti Smith Collection, F. W. Olin Library, Mills College. Photo: Linda Smith Bianucci; inkBoat photo by Pak Han.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php#upcex4.php\" target=\"_blank\" rel=\"noopener\">Root Connection: 20 Years of the Patti Smith Collection\u003c/a>\u003c/i> & \u003ci>\u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php#upcex3.php\" target=\"_blank\" rel=\"noopener\">The 96th Ritual (for Anna Halprin)\u003c/a>\u003c/i>\n\u003ch3>\n\u003ch5>Mills College Art Museum, Oakland\u003cbr>\nSept. 14 – Dec. 11, 2016\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>Did you know Mills houses a Patti Smith Collection? Me either! Seize this opportunity to survey books, articles, photographs and ephemera by and about the great poet, singer-songwriter and artist. If her memoirs \u003ci>Just Kids\u003c/i> and \u003ci>M Train\u003c/i> left you hungering for more, Mills provides Polaroids, broadsides, vintage fan-zines and listening stations so you can perfect the knot in your own red neck-scarf.\u003c/p>\n\u003cp>Simultaneously, Mills pays tribute to local legend and post-modern dance pioneer Anna Halprin with documentation of \u003ci>95 Rituals\u003c/i>, \u003ca href=\"https://ww2.kqed.org/arts/2015/07/19/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier/\" target=\"_blank\" rel=\"noopener\">performed at San Francisco’s Hyde Street Pier\u003c/a> in honor of Halprin’s 95th birthday last year. An ephemeral event morphs into a continuous museum experience and we reap the benefits of Halprin’s continued influence on the Bay Area art scene.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980297\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg\" alt=\"Emory Douglas, 'H. Rap Brown (Man with Match),' 1967.\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-11980297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Douglas600.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas, ‘H. Rap Brown (Man with Match),’ 1967. \u003ccite>(Collection of the Oakland Museum of California. All Of Us Or None Archive. Gift of the Rossman Family.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Oakland Museum of California, Oakland\u003cbr>\nOct. 8, 2016 – Feb. 12, 2017\u003c/h5>\n\u003cp>Founded in Oakland in October 1966, the Black Panther Party for Self Defense celebrates its 50th anniversary this year, and OMCA has gathered artifacts, oral histories and contemporary art to delve into both the beginnings of the party and its lasting influence. Among the museum’s holdings: still-trenchant Emory Douglas posters, historic photographs of the Panthers standing tall on the steps of the Alameda County Courthouse (steps away from OMCA), and works like \u003ca href=\"https://ww2.kqed.org/artschool/2015/09/04/shooting-hoops-with-an-astronaut-david-huffman/\" target=\"_blank\" rel=\"noopener\">David Huffman\u003c/a>’s mysterious \u003ci>Tree Huggers\u003c/i>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980286\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/connor640-400x267.jpg\" alt=\"Bruce Conner, 'Mexico Collage,' 1962. \" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-11980286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/connor640-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/connor640.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Conner, ‘Mexico Collage,’ 1962. \u003ccite>(© 2016 Conner Family Trust, San Francisco / Artists Rights Society (ARS), New York; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bruce-conner-its-all-true/\" target=\"_blank\" rel=\"noopener\">Bruce Conner: It’s All True\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>San Francisco Museum of Modern Art, San Francisco\u003cbr>\nOct. 29, 2016 – Jan. 22, 2017\u003c/h5>\n\u003cp>The first major retrospective of the late, great Bruce Conner comes rightfully home to San Francisco after a warm-up showing at New York’s MoMA. Experimental film, photography, collage, conceptual art and painting reintroduce some of the pioneering artist’s lesser-known output over the course his five-decade career. SFMOMA reveals \u003ca href=\"https://museumstore.sfmoma.org/books/sfmoma-publications/bruce-conner-it-s-all-true.html\" target=\"_blank\" rel=\"noopener\">a hefty publication\u003c/a> to go along with this show, but for a more intimate peek into the final years of Conner’s life, look to J&L’s \u003ci>\u003ca href=\"http://www.jandlbooks.org/BCBH.html\" target=\"_blank\" rel=\"noopener\">Brass Handles\u003c/a>\u003c/i>, documentation of the handholds he used to navigate his Glen Park.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980288\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001-400x291.jpg\" alt=\"Ana Mendieta, Still from 'Creek,' 1974.\" width=\"400\" height=\"291\" class=\"size-thumbnail wp-image-11980288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mendieta_Creek_001.jpg 578w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ana Mendieta, Still from ‘Creek,’ 1974. \u003ccite>(© The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong, New York.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ci>\u003ca href=\"http://www.bampfa.berkeley.edu/program/covered-time-and-history-films-ana-mendieta\" target=\"_blank\" rel=\"noopener\">Covered in Time and History: The Films of Ana Mendieta\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>UC Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nNov. 9, 2016 – Feb. 12, 2017\u003c/h5>\n\u003cp>Like \u003ca href=\"https://ww2.kqed.org/arts/2016/08/17/overdue-eva-hesse-a-fitting-homage-to-sculptors-brief-brilliant-career/\" target=\"_blank\" rel=\"noopener\">Eva Hesse\u003c/a>, Ana Mendieta is an artist who died far too young. She was 36 when she fell from her 34th-floor apartment window. (The question over whether or not her husband, artist Carl Andre, was responsible for her fall still prompts protests of his work, 31 years later.) Mendieta herself didn’t shy away from controversy or violence in her work. \u003ci>Covered in Time and History\u003c/i> gathers 21 film pieces that address everything from sexual assault to her own separation from home (Cuba) and family at the age of 12, to the elemental relationship between human bodies and nature.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11980287\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378-400x254.jpg\" alt=\"Jessica Hines, from the series 'My Brother's War.'\" width=\"400\" height=\"254\" class=\"size-thumbnail wp-image-11980287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JessicaHines_NotAlone-web-image-595x378.jpg 595w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Hines, from the series ‘My Brother’s War.’ \u003ccite>(Courtesy of SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.sfartscommission.org/gallery/2016/not-alone-exploring-bonds-between-and-with-members-of-the-armed-forces/\" target=\"_blank\" rel=\"noopener\">\u003ci>Not Alone: Exploring Bonds Between and With Members of the Armed Forces\u003c/i>\u003c/a>\u003c/h3>\n\u003ch5>San Francisco Arts Commission Gallery, San Francisco\u003cbr>\nNov. 9, 2016 – March 4, 2017\u003c/h5>\n\u003cp>How do we support the members of our armed forces and the veterans of our wars? \u003ci>Not Alone\u003c/i> goes beyond the terse “thank you for your service” to highlight artists working with US military personnel and veterans to build narratives about and with them. Notable contributors include ceramicist Ehren Tool, multimedia artists \u003ca href=\"https://ww2.kqed.org/arts/2016/04/06/berkeley-art-centers-agility-projects-allow-for-daring-reflections-on-cultural-identity/\" target=\"_blank\" rel=\"noopener\">Rodney Ewing\u003c/a> and Whitney Lynn, and journalist/photographer \u003ca href=\"https://ww2.kqed.org/arts/2013/02/24/the_work_of_jason_hanasik_and_berndnaut_smilde_in_conversation_at_san_francisco_arts_commission_gallery/\" target=\"_blank\" rel=\"noopener\">Jason Hanasik\u003c/a>, who also helped curate the exhibition.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11980268/fall-visual-arts-picks-be-sure-to-see-these-eight-exhibits","authors":["61"],"series":["arts_1493"],"categories":["arts_70"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_11980285","label":"arts_1493"}},"programsReducer":{"possible":{"id":"possible","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? 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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