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"content": "\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director",
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"content": "\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. [aside postid='arts_13864717']\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. [aside postid='arts_13861650']\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"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? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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