Our staff and contributors pick the top arts events for the fall in the Bay Area.
Reminder: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.
Jazz and Classical Concerts to See in the Bay Area This Fall
Looking Ahead to Bay Area Books to Read This Fall
Bay Area Film Festivals and Premieres Worth Your While This Fall
Strange Spectacles Abound at The Residents' Castro Theatre Performance
This Fall, Bay Area Food Events Emphasize Culture and Community
Nef the Pharaoh's Psychedelic Rhymes Come to Berkeley's Cornerstone
Must-See Concerts in the Bay Area This Fall
Soundwave: Translocality Creates Soundscapes for Bay Area Landmarks
Isaiah Rashad Brings His Dark, Confessional Raps to the Warfield
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","description":"Isaiah Rashad performs onstage during the 2017 Panorama Music Festival at Randall's Island on July 28, 2017 in New York City. ","title":"2017 Panorama Music Festival - Day 1","credit":" Monica Schipper/Getty Images for Panorama","status":"inherit","altTag":null,"fetchFailed":false,"isLoading":false}},"audioPlayerReducer":{"postId":"stream_live"},"authorsReducer":{"mfox":{"type":"authors","id":"22","meta":{"index":"authors_1716337520","id":"22","found":true},"name":"Michael Fox","firstName":"Michael","lastName":"Fox","slug":"mfox","email":"foxonfilm@yahoo.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Michael Fox has written about film for a variety of publications since 1987. He is an instructor in the OLLI programs at U.C. Berkeley and S.F. 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She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ltsai":{"type":"authors","id":"11743","meta":{"index":"authors_1716337520","id":"11743","found":true},"name":"Luke Tsai","firstName":"Luke","lastName":"Tsai","slug":"ltsai","email":"ltsai@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Editor","bio":"Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"athapliyal":{"type":"authors","id":"11766","meta":{"index":"authors_1716337520","id":"11766","found":true},"name":"Adesh Thapliyal","firstName":"Adesh","lastName":"Thapliyal","slug":"athapliyal","email":"athapliyal@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Adesh Thapliyal is KQED Arts' Editorial Intern. Previously, he wrote for the experimental newsletter \u003cem>Tone Glow\u003c/em> and the pop music blog \u003cem>The Singles Jukebox\u003c/em>.","avatar":"https://secure.gravatar.com/avatar/25c945182616a5283c4f746e7017bca3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Adesh Thapliyal | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/25c945182616a5283c4f746e7017bca3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/25c945182616a5283c4f746e7017bca3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/athapliyal"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13902315":{"type":"posts","id":"arts_13902315","meta":{"index":"posts_1716263798","site":"arts","id":"13902315","score":null,"sort":[1630618940000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1630618940,"format":"aside","title":"Jazz and Classical Concerts to See in the Bay Area This Fall","headTitle":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","content":"\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1350,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":25},"modified":1705007800,"excerpt":"Innovation and diversity are the drivers of this season's jazz and classical performances.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Innovation and diversity are the drivers of this season's jazz and classical performances.","title":"Jazz and Classical Concerts to See in the Bay Area This Fall | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz and Classical Concerts to See in the Bay Area This Fall","datePublished":"2021-09-02T14:42:20-07:00","dateModified":"2024-01-11T13:16:40-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","templateType":"standard","featuredImageType":"standard","sticky":false,"source":"Fall Arts Preview 2021","path":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\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>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\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\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902315/jazz-and-classical-concerts-to-see-in-the-bay-area-this-fall","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_2435","arts_15393","arts_15307","arts_10278","arts_1420","arts_1275","arts_1367","arts_2960","arts_3316","arts_2048","arts_585","arts_4107"],"featImg":"arts_13902406","label":"source_arts_13902315"},"arts_13902268":{"type":"posts","id":"arts_13902268","meta":{"index":"posts_1716263798","site":"arts","id":"13902268","score":null,"sort":[1630540925000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1630540925,"format":"standard","title":"Looking Ahead to Bay Area Books to Read This Fall","headTitle":"Looking Ahead to Bay Area Books to Read This Fall | KQED","content":"\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1126,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1705007814,"excerpt":"Bay Area authors call for abolition, fair housing, and an end to the refugee crisis—and take center stage at Litquake.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Bay Area authors call for abolition, fair housing, and an end to the refugee crisis—and take center stage at Litquake.","title":"Looking Ahead to Bay Area Books to Read This Fall | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Ahead to Bay Area Books to Read This Fall","datePublished":"2021-09-01T17:02:05-07:00","dateModified":"2024-01-11T13:16:54-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"looking-ahead-to-bay-area-books-to-read-this-fall","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13902268/looking-ahead-to-bay-area-books-to-read-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\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>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\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\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13902268/looking-ahead-to-bay-area-books-to-read-this-fall","authors":["11766"],"categories":["arts_1","arts_73"],"tags":["arts_4906","arts_928","arts_15307","arts_10278","arts_1194","arts_1496","arts_585","arts_2209"],"featImg":"arts_13902348","label":"arts"},"arts_13901612":{"type":"posts","id":"arts_13901612","meta":{"index":"posts_1716263798","site":"arts","id":"13901612","score":null,"sort":[1630522824000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1630522824,"format":"standard","title":"Bay Area Film Festivals and Premieres Worth Your While This Fall","headTitle":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","content":"\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/AXhpTZeG4eg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\n\u003cp>https://youtu.be/eMMLRnXPPJk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>https://youtu.be/TcPk2p0Zaw4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\n\u003cp>https://youtu.be/Lagauhb5GyY\u003c/p>\n\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\n\u003cp>https://youtu.be/kAJXFRshQfw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1750,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":29},"modified":1705007824,"excerpt":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.","title":"Bay Area Film Festivals and Premieres Worth Your While This Fall | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Film Festivals and Premieres Worth Your While This Fall","datePublished":"2021-09-01T12:00:24-07:00","dateModified":"2024-01-11T13:17:04-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","templateType":"standard","featuredImageType":"standard","sticky":false,"source":"Fall Arts Guide 2021","path":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\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>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AXhpTZeG4eg'\n title='//www.youtube.com/embed/AXhpTZeG4eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eMMLRnXPPJk'\n title='//www.youtube.com/embed/eMMLRnXPPJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TcPk2p0Zaw4'\n title='//www.youtube.com/embed/TcPk2p0Zaw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Lagauhb5GyY'\n title='//www.youtube.com/embed/Lagauhb5GyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kAJXFRshQfw'\n title='//www.youtube.com/embed/kAJXFRshQfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\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\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901612/festivals-premieres-and-highlights-of-bay-area-film-to-see-this-fall","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_5051","arts_15307","arts_10278","arts_977","arts_1006","arts_2701","arts_3465","arts_5710","arts_585"],"featImg":"arts_13902209","label":"source_arts_13901612"},"arts_13903344":{"type":"posts","id":"arts_13903344","meta":{"index":"posts_1716263798","site":"arts","id":"13903344","score":null,"sort":[1630456354000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1630456354,"format":"standard","title":"Strange Spectacles Abound at The Residents' Castro Theatre Performance","headTitle":"Strange Spectacles Abound at The Residents’ Castro Theatre Performance | KQED","content":"\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous.\u003c/p>\n\u003cp>During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum.\u003c/p>\n\u003cp>Their \u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 17 performance at the Castro Theatre\u003c/a> in San Francisco should be no less imaginative.\u003c/p>\n\u003cp>https://youtu.be/dkcZp-ofXEE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":154,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1705007826,"excerpt":"The experimental band and art collective has been keeping San Francisco weird since 1969.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The experimental band and art collective has been keeping San Francisco weird since 1969.","title":"Strange Spectacles Abound at The Residents' Castro Theatre Performance | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Strange Spectacles Abound at The Residents' Castro Theatre Performance","datePublished":"2021-08-31T17:32:34-07:00","dateModified":"2024-01-11T13:17:06-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"strange-spectacles-abound-at-the-residents-castro-theatre-performance","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13903344/strange-spectacles-abound-at-the-residents-castro-theatre-performance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous.\u003c/p>\n\u003cp>During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum.\u003c/p>\n\u003cp>Their \u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 17 performance at the Castro Theatre\u003c/a> in San Francisco should be no less imaginative.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dkcZp-ofXEE'\n title='//www.youtube.com/embed/dkcZp-ofXEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/13903344/strange-spectacles-abound-at-the-residents-castro-theatre-performance","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6476","arts_3607","arts_15290","arts_15307","arts_585"],"featImg":"arts_13903347","label":"arts_140"},"arts_13901710":{"type":"posts","id":"arts_13901710","meta":{"index":"posts_1716263798","site":"arts","id":"13901710","score":null,"sort":[1630450822000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1630450822,"format":"standard","title":"This Fall, Bay Area Food Events Emphasize Culture and Community","headTitle":"This Fall, Bay Area Food Events Emphasize Culture and Community | KQED","content":"\u003cp>\u003cspan style=\"font-weight: 400\">It’s no secret that fall is the real Bay Area summer, when temperatures push into the 80s and 90s—and, air quality permitting, food lovers loosen their pants and head outdoors for the region’s biggest and most highly anticipated food festivals. It’s stunt taco season. Fried food on a stick season. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, of course, the delta variant had something to say about all that, and concerns about super spreader events put the kibosh on the largest of these in-person gatherings. Eat Real Fest was canceled \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPTRnx3BvGp/\">\u003cspan style=\"font-weight: 400\">months ago\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://lacocinasf.org/event-calendar/sf-food-festival\">\u003cspan style=\"font-weight: 400\">La Cocina’s annual San Francisco Street Food Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> won’t be happening this October.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, this fall does offer some of the first opportunities food lovers have had in a year and a half to gather in person—mostly outdoors, with masks—with a few hundred other mooncake connoisseurs or vegan burrito enthusiasts. In fact, this year’s small but mighty slate of food festivals looks more community-oriented and culturally significant than ever. Feel more comfortable chilling out at home with a virtual event? We’ve got a few options for you as well.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13901744\" class=\"wp-caption aligncenter\" style=\"max-width: 827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg\" alt=\"Hand holding a burrito split open so you can see the cross section of the filling: rice, refried beans, avocado.\" width=\"827\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg 827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-768x892.jpg 768w\" sizes=\"(max-width: 827px) 100vw, 827px\">\u003cfigcaption class=\"wp-caption-text\">A vegan burrito from De La Tierra Mexican Food. \u003ccite>(Erika Hazel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bizerkeley Food Festival\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSeptember 5, 2021, 11am–5pm\u003cbr>\n\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Touted as Berkeley’s first ever dedicated vegan food festival, the Bizerkeley is the brainchild of Erika Hazel, a \u003ca href=\"https://www.thebizerkeleyvegan.com/\">vegan food blogger\u003c/a> and first-time festival organizer whose stated goal is to bring all of California’s most amazing vegan food to her adopted hometown—a daylong event held in Sports Basement’s spacious parking lot. In order to help attendees to experience the breadth and depth of today’s vegan scene, Hazel says the curated vendor lineup won’t include any duplicate cuisines: Brisbane-based \u003c/span>\u003ca href=\"https://chefreina.com/\">\u003cspan style=\"font-weight: 400\">Chef Reina\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will have the only booth selling Filipino food; \u003c/span>\u003ca href=\"https://www.calidawg.com/\">\u003cspan style=\"font-weight: 400\">Cali Dawg\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a popular pop-up from the Central Coast, will be the only one selling vegan hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Hazel says, is to change the way that vegan food is perceived—even in famously vegan-friendly Berkeley. “It’s not just rabbit food,” she says. “It can be lasagna, ribs, hot dogs.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets ($5) for the masked, socially-distanced event must be purchased online in advance, with 50 percent of proceeds benefiting \u003c/span>\u003ca href=\"https://friendsofbacs.org/\">\u003cspan style=\"font-weight: 400\">Friends of Berkeley Animal Care Services\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. On the day of the event itself, everything will be sold a la carte, and each booth is required to offer at least one affordable $5 option.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901757\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg\" alt=\"Schoolchildren in face masks stringing up paper lanterns in Clinton Park, Oakland.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Children string up paper lanterns at Clinton Park during the 2020 edition of the Little Saigon Mid-Autumn Festival. \u003ccite>(Good Good Eatz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Little Saigon Mid-Autumn Festival\u003c/h2>\n\u003cp>\u003ci>Clinton Park, Oakland\u003cbr>\nSeptember 18, 2021, noon–5pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing an \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">\u003cspan style=\"font-weight: 400\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901761\" class=\"wp-caption aligncenter\" style=\"max-width: 2006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg\" alt=\"Deep red gochujang Korean pepper paste in a traditional earthenware pot.\" width=\"2006\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg 2006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-800x1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1020x1302.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-768x980.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1204x1536.jpg 1204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1605x2048.jpg 1605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1920x2450.jpg 1920w\" sizes=\"(max-width: 2006px) 100vw, 2006px\">\u003cfigcaption class=\"wp-caption-text\">Homemade gochujang in a traditional earthenware pot. \u003ccite>(Sarah Kim-Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>K-Food Gochujang Festival\u003c/h2>\n\u003cp>\u003ci>Presidio of San Francisco, Presidio Theatre Outdoor Plaza\u003cbr>\nSeptember 18, 2021, 11am–2pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTN-0DfJvbL/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Korean Consulate was all set to bring back its in-person Chuseok Festival (i.e., Korean harvest festival) when the delta variant put a damper on plans for such a large gathering. The good news is that while the Chuseok Festival is going all virtual (see below), the organizers had at least one smaller outdoor event in their back pocket, and it’s a rare treat: a gochujang-making class, with all of the materials—including the onggi, or traditional earthenware vessel—provided free of charge. Perhaps best known to American diners as the hot pepper paste used in bibimbap, gochujang is something that many Korean families no longer know how to make in the traditional way, according to event organizer Sarah Kim-Lee. “It’s a dying art in a way,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily enough for participants in the workshop, Sun-Young Chang, author of the pioneering cookbook \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Korean Mother’s Cooking Notes\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, will walk them through the process of preparing the gochujang and wrapping it beautifully inside the onggi, and participants will bring home the finished product, which will need to ferment at home for three months before it’s ready to eat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spots are extremely limited, so if you’d like to sign up, email Kim-Lee ASAP at koreancookingsf@gmail.com. It’s also fine to just come as a spectator, especially since there will be four local chefs on hand to demonstrate how to cook with gochujang. Proof of vaccination or negative COVID test will be required for admission.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901763\" class=\"wp-caption aligncenter\" style=\"max-width: 2038px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg\" alt='Colorfully painted bus with a \"SOMA Pilipinas\" sign in front.' width=\"2038\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg 2038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1920x1287.jpg 1920w\" sizes=\"(max-width: 2038px) 100vw, 2038px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted “SOMA Pilipinas” bus marks the entrance to Kapwa Gardens, one of the Culture Crawl’s featured venues. \u003ccite>(Mogli Maureal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Undiscovered SF Culture Crawl 2021\u003c/h2>\n\u003cp>\u003ci>Mission Street between 3rd and 7th, San Francisco; virtual\u003cbr>\nOctober 16, 2021, noon–6pm\u003cbr>\n\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the \u003c/span>\u003cspan style=\"font-weight: 400\">SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901766\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg\" alt=\"Woman dressed in traditional Korean clothing prepares a dish made with instant noodles.\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A cook demonstrates how to make jjapaguri, a dish made with instant noodles, during the 2020 edition of the virtual Chuseok Festival. \u003ccite>(San Francisco Chuseok Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuseok Festival\u003c/h2>\n\u003cp>\u003ci>Virtual\u003cbr>\nOct. 20–Oct. 27, 2021\u003cbr>\n\u003ca href=\"https://koreancentersf.org/chuseok2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of San Francisco’s annual Chuseok Festival made a hard pivot just a couple of weeks ago, cancelling their plans for a large, extensive in-person event to instead focus their efforts on building an entire week’s worth of free, all-virtual festivities. Few of those plans have been finalized yet, but the organizers confirm that there will be a number of food and beverage workshops in the mix—perhaps a demonstration of how to make makgeolli, the milky Korean home brew, for instance. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902156\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/lumpia_districtsix.jpg\" alt=\"Two different kinds of lumpia in a cardboard takeout container.\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">LumpiaPalooza will be a celebration of all things lumpia. \u003ccite>(District Six)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>LumpiaPalooza\u003c/h2>\n\u003cp>\u003ci>District Six, 428 11th Street, San Francisco\u003cbr>\nOct. 23–Oct. 24, 2021\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003c/span>\u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">\u003cspan style=\"font-weight: 400\">Lumpia Company\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Hayward-based \u003c/span>\u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">Marley’s Treats\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902133\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg\" alt=\"A Día de los Muertos family altar display featuring a skull wearing a face mask. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Día de los Muertos Festival will be a socially distanced event. \u003ccite>(The Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Día de los Muertos Festival and Fruitvale Restaurant Week\u003c/h2>\n\u003cp>\u003ci>International Boulevard, from Fruitvale Ave. to 40th Ave., Oakland\u003cbr>\nOct. 24–Oct. 31, 2021\u003cbr>\n\u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">partial\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says \u003c/span>\u003cspan style=\"font-weight: 400\">Itzel Diaz-Romo\u003c/span>\u003cspan style=\"font-weight: 400\">, the I\u003c/span>\u003cspan style=\"font-weight: 400\">nterim Director of Development & Communications for the \u003c/span>\u003cspan style=\"font-weight: 400\">Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901765\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg\" alt=\"A collage of images from the 2020 Kimchi Cook-Off.\" width=\"2560\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-2048x977.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1920x916.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A collage of images from the 2020 Kimchi Cook-Off. \u003ccite>(Kimchi Cook-Off)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Korean Kimchi Festival and Cook-Off\u003c/h2>\n\u003cp>\u003ci>The Culinary Institute of America at Copia, Napa\u003cbr>\nNovember 7, 2021\u003cbr>\n\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those looking for a more hands-on food event, a kimchi cook-off might be just the thing. Part of an international series sponsored by the Jongga kimchi company in partnership with prominent culinary schools, this year’s Bay Area edition will take place at the CIA at Copia in downtown Napa, pitting eight finalists against each other to cook their own original recipes that incorporate kimchi. Top finishers will take home cash prizes. Kimchi enthusiasts who think they’ve got the right stuff simply need to submit an \u003c/span>\u003ca href=\"https://www.facebook.com/events/207820298049424/?ref=newsfeed\">\u003cspan style=\"font-weight: 400\">audition video\u003c/span>\u003c/a> to apply\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Festival director HJ Park says the original plan was to allow up to 200 audience members—each of whom would take home a DIY kimchi goodie bag—but since it’s an indoor event, those plans are up in the air. Either way, the whole competition will be livestreamed via the event’s \u003c/span>\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\">\u003cspan style=\"font-weight: 400\">Facebook page\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1993,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":33},"modified":1705007829,"excerpt":"In our fall preview of food events, you'll find lumpia, kimchi, pho, gochujang, banh mi and more.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"In our fall preview of food events, you'll find lumpia, kimchi, pho, gochujang, banh mi and more.","title":"This Fall, Bay Area Food Events Emphasize Culture and Community | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Fall, Bay Area Food Events Emphasize Culture and Community","datePublished":"2021-08-31T16:00:22-07:00","dateModified":"2024-01-11T13:17:09-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"food-events-fall-2021","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","templateType":"standard","featuredImageType":"standard","sticky":false,"source":"Fall Arts Guide 2021","path":"/arts/13901710/food-events-fall-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">It’s no secret that fall is the real Bay Area summer, when temperatures push into the 80s and 90s—and, air quality permitting, food lovers loosen their pants and head outdoors for the region’s biggest and most highly anticipated food festivals. It’s stunt taco season. Fried food on a stick season. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, of course, the delta variant had something to say about all that, and concerns about super spreader events put the kibosh on the largest of these in-person gatherings. Eat Real Fest was canceled \u003c/span>\u003ca href=\"https://www.instagram.com/p/CPTRnx3BvGp/\">\u003cspan style=\"font-weight: 400\">months ago\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://lacocinasf.org/event-calendar/sf-food-festival\">\u003cspan style=\"font-weight: 400\">La Cocina’s annual San Francisco Street Food Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> won’t be happening this October.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, this fall does offer some of the first opportunities food lovers have had in a year and a half to gather in person—mostly outdoors, with masks—with a few hundred other mooncake connoisseurs or vegan burrito enthusiasts. In fact, this year’s small but mighty slate of food festivals looks more community-oriented and culturally significant than ever. Feel more comfortable chilling out at home with a virtual event? We’ve got a few options for you as well.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13901744\" class=\"wp-caption aligncenter\" style=\"max-width: 827px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg\" alt=\"Hand holding a burrito split open so you can see the cross section of the filling: rice, refried beans, avocado.\" width=\"827\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley.jpg 827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-800x930.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/De-La-Tierra-burrito_Bizerkeley-768x892.jpg 768w\" sizes=\"(max-width: 827px) 100vw, 827px\">\u003cfigcaption class=\"wp-caption-text\">A vegan burrito from De La Tierra Mexican Food. \u003ccite>(Erika Hazel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bizerkeley Food Festival\u003c/h2>\n\u003cp>\u003ci>2727 Milvia Street, Berkeley\u003cbr>\nSeptember 5, 2021, 11am–5pm\u003cbr>\n\u003ca href=\"https://www.thebizerkeleyvegan.com/foodfest\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\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>\n\u003cp>\u003cspan style=\"font-weight: 400\">Touted as Berkeley’s first ever dedicated vegan food festival, the Bizerkeley is the brainchild of Erika Hazel, a \u003ca href=\"https://www.thebizerkeleyvegan.com/\">vegan food blogger\u003c/a> and first-time festival organizer whose stated goal is to bring all of California’s most amazing vegan food to her adopted hometown—a daylong event held in Sports Basement’s spacious parking lot. In order to help attendees to experience the breadth and depth of today’s vegan scene, Hazel says the curated vendor lineup won’t include any duplicate cuisines: Brisbane-based \u003c/span>\u003ca href=\"https://chefreina.com/\">\u003cspan style=\"font-weight: 400\">Chef Reina\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will have the only booth selling Filipino food; \u003c/span>\u003ca href=\"https://www.calidawg.com/\">\u003cspan style=\"font-weight: 400\">Cali Dawg\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a popular pop-up from the Central Coast, will be the only one selling vegan hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Hazel says, is to change the way that vegan food is perceived—even in famously vegan-friendly Berkeley. “It’s not just rabbit food,” she says. “It can be lasagna, ribs, hot dogs.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets ($5) for the masked, socially-distanced event must be purchased online in advance, with 50 percent of proceeds benefiting \u003c/span>\u003ca href=\"https://friendsofbacs.org/\">\u003cspan style=\"font-weight: 400\">Friends of Berkeley Animal Care Services\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. On the day of the event itself, everything will be sold a la carte, and each booth is required to offer at least one affordable $5 option.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901757\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg\" alt=\"Schoolchildren in face masks stringing up paper lanterns in Clinton Park, Oakland.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/midautumnfestival_goodgoodeatz-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Children string up paper lanterns at Clinton Park during the 2020 edition of the Little Saigon Mid-Autumn Festival. \u003ccite>(Good Good Eatz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Little Saigon Mid-Autumn Festival\u003c/h2>\n\u003cp>\u003ci>Clinton Park, Oakland\u003cbr>\nSeptember 18, 2021, noon–5pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTsCJRmJA9C/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To prepare for Eastlake Little Saigon’s big Mid-Autumn Festival celebration, the nonprofit Good Good Eatz and the Oakland Vietnamese Chamber of Commerce are distributing 2,000 colorful paper lanterns to four local schools so that the students can paint and decorate them. On Sept. 18, the lanterns will light up dozens of restaurants around Eastlake, acting as beacons to draw customers toward delicious pho and banh mi at neighborhood standards like Pho Vy, Pho Mekong and Cam Huong. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing an \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900641/pokemon-go-little-saigon-oakland-vietnamese-food\">\u003cspan style=\"font-weight: 400\">ongoing cross-promotion with Pokémon Go developer Niantic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, many of the restaurants and markets will be designated as Pokéstops, where players of the augmented reality game can accrue power-ups. In further keeping with the Vietnamese emphasis of Mid-Autumn Festival as a children’s holiday—like Halloween for Americans, Good Good Eatz co-founder Trinh Banh explains—kids will be able to go around and collect miniature mooncakes and other goodies from many of the participating merchants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This will be a masked event, and COVID vaccination and testing will be available at Clinton Park.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901761\" class=\"wp-caption aligncenter\" style=\"max-width: 2006px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg\" alt=\"Deep red gochujang Korean pepper paste in a traditional earthenware pot.\" width=\"2006\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-scaled.jpg 2006w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-800x1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1020x1302.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-768x980.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1204x1536.jpg 1204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1605x2048.jpg 1605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/gochujang_sarahkim-lee-1920x2450.jpg 1920w\" sizes=\"(max-width: 2006px) 100vw, 2006px\">\u003cfigcaption class=\"wp-caption-text\">Homemade gochujang in a traditional earthenware pot. \u003ccite>(Sarah Kim-Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>K-Food Gochujang Festival\u003c/h2>\n\u003cp>\u003ci>Presidio of San Francisco, Presidio Theatre Outdoor Plaza\u003cbr>\nSeptember 18, 2021, 11am–2pm\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CTN-0DfJvbL/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Korean Consulate was all set to bring back its in-person Chuseok Festival (i.e., Korean harvest festival) when the delta variant put a damper on plans for such a large gathering. The good news is that while the Chuseok Festival is going all virtual (see below), the organizers had at least one smaller outdoor event in their back pocket, and it’s a rare treat: a gochujang-making class, with all of the materials—including the onggi, or traditional earthenware vessel—provided free of charge. Perhaps best known to American diners as the hot pepper paste used in bibimbap, gochujang is something that many Korean families no longer know how to make in the traditional way, according to event organizer Sarah Kim-Lee. “It’s a dying art in a way,” she says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Luckily enough for participants in the workshop, Sun-Young Chang, author of the pioneering cookbook \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Korean Mother’s Cooking Notes\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, will walk them through the process of preparing the gochujang and wrapping it beautifully inside the onggi, and participants will bring home the finished product, which will need to ferment at home for three months before it’s ready to eat. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spots are extremely limited, so if you’d like to sign up, email Kim-Lee ASAP at koreancookingsf@gmail.com. It’s also fine to just come as a spectator, especially since there will be four local chefs on hand to demonstrate how to cook with gochujang. Proof of vaccination or negative COVID test will be required for admission.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901763\" class=\"wp-caption aligncenter\" style=\"max-width: 2038px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901763\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg\" alt='Colorfully painted bus with a \"SOMA Pilipinas\" sign in front.' width=\"2038\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal.jpg 2038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/KapwaGardens1_MogliMaureal-1920x1287.jpg 1920w\" sizes=\"(max-width: 2038px) 100vw, 2038px\">\u003cfigcaption class=\"wp-caption-text\">A colorfully painted “SOMA Pilipinas” bus marks the entrance to Kapwa Gardens, one of the Culture Crawl’s featured venues. \u003ccite>(Mogli Maureal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Undiscovered SF Culture Crawl 2021\u003c/h2>\n\u003cp>\u003ci>Mission Street between 3rd and 7th, San Francisco; virtual\u003cbr>\nOctober 16, 2021, noon–6pm\u003cbr>\n\u003ca href=\"https://www.undiscoveredsf.com/culture-crawl-2021\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In pre-COVID times, Undiscovered SF’s periodic night markets were a blast of local Filipino American culture at its finest and most rollicking—the DJs, b-boys, traditional folk dancers and, of course, a taste of the most delicious Filipino food the Bay Area has to offer. This year’s edition will be a bit of a hybrid: For social distancing reasons, the live events—the DJ sets and other performances, the food pop-ups, the streetwear and jewelry vendors—will be spread across three indoor and outdoor venues, together forming a “culture crawl” meant to encourage guests to explore all that the \u003c/span>\u003cspan style=\"font-weight: 400\">SOMA Pilipinas corridor has to offer. For those in it primarily for the lechon (or the sisig or the halo-halo), a food passport will allow customers to access one menu item at every vendor for one fixed price. Confirmed vendors include Jeepney Guy (the local lechon master) and Barya Kitchen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, those who feel more comfortable avoiding the crowds don’t need to worry about missing out entirely: All of the performances and workshops will be livestreamed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901766\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg\" alt=\"Woman dressed in traditional Korean clothing prepares a dish made with instant noodles.\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/chuseokfestival2020_cookingdemo-1920x1440.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A cook demonstrates how to make jjapaguri, a dish made with instant noodles, during the 2020 edition of the virtual Chuseok Festival. \u003ccite>(San Francisco Chuseok Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuseok Festival\u003c/h2>\n\u003cp>\u003ci>Virtual\u003cbr>\nOct. 20–Oct. 27, 2021\u003cbr>\n\u003ca href=\"https://koreancentersf.org/chuseok2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of San Francisco’s annual Chuseok Festival made a hard pivot just a couple of weeks ago, cancelling their plans for a large, extensive in-person event to instead focus their efforts on building an entire week’s worth of free, all-virtual festivities. Few of those plans have been finalized yet, but the organizers confirm that there will be a number of food and beverage workshops in the mix—perhaps a demonstration of how to make makgeolli, the milky Korean home brew, for instance. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902156\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/lumpia_districtsix.jpg\" alt=\"Two different kinds of lumpia in a cardboard takeout container.\" width=\"1000\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/lumpia_districtsix-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">LumpiaPalooza will be a celebration of all things lumpia. \u003ccite>(District Six)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>LumpiaPalooza\u003c/h2>\n\u003cp>\u003ci>District Six, 428 11th Street, San Francisco\u003cbr>\nOct. 23–Oct. 24, 2021\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003c/span>\u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">\u003cspan style=\"font-weight: 400\">Lumpia Company\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Hayward-based \u003c/span>\u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">\u003cspan style=\"font-weight: 400\">Marley’s Treats\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13902133\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg\" alt=\"A Día de los Muertos family altar display featuring a skull wearing a face mask. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/dia-display_unitycouncil-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Día de los Muertos Festival will be a socially distanced event. \u003ccite>(The Unity Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Día de los Muertos Festival and Fruitvale Restaurant Week\u003c/h2>\n\u003cp>\u003ci>International Boulevard, from Fruitvale Ave. to 40th Ave., Oakland\u003cbr>\nOct. 24–Oct. 31, 2021\u003cbr>\n\u003ca href=\"https://diaoakland.com/?ltclid=77d11583-837a-4d21-90d6-8c9422880804\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Normally one of the busiest and most lively days of the year in Oakland’s heavily Mexican and Latin American Fruitvale district, this year’s Día de los Muertos Festival will mark a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">partial\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> return to the before-times celebration of this holiday honoring the dead. The jaw-droppingly athletic Aztec dancers, the sleek lowriders and the moving and intricately assembled ofrendas will all be back for this year’s festival, which takes place Oct. 31, says \u003c/span>\u003cspan style=\"font-weight: 400\">Itzel Diaz-Romo\u003c/span>\u003cspan style=\"font-weight: 400\">, the I\u003c/span>\u003cspan style=\"font-weight: 400\">nterim Director of Development & Communications for the \u003c/span>\u003cspan style=\"font-weight: 400\">Unity Council, which is organizing the event. The performances and displays will just be spread out throughout the district to prevent crowds from accumulating at any one place. COVID vaccines and testing will be available on site.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The biggest difference, for food lovers, is that there won’t be any street vendors hawking tamales or pupusas this year. Instead, in an effort to support local restaurants, the week leading up to Día de los Muertos has been designated, as it was last year, as Fruitvale Restaurant Week. Details are still being finalized, but it’s likely that all participating restaurants will offer a $20 meal deal that includes a drink.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13901765\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg\" alt=\"A collage of images from the 2020 Kimchi Cook-Off.\" width=\"2560\" height=\"1222\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-2048x977.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Kimchi-Cookoff02-1920x916.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A collage of images from the 2020 Kimchi Cook-Off. \u003ccite>(Kimchi Cook-Off)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Korean Kimchi Festival and Cook-Off\u003c/h2>\n\u003cp>\u003ci>The Culinary Institute of America at Copia, Napa\u003cbr>\nNovember 7, 2021\u003cbr>\n\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those looking for a more hands-on food event, a kimchi cook-off might be just the thing. Part of an international series sponsored by the Jongga kimchi company in partnership with prominent culinary schools, this year’s Bay Area edition will take place at the CIA at Copia in downtown Napa, pitting eight finalists against each other to cook their own original recipes that incorporate kimchi. Top finishers will take home cash prizes. Kimchi enthusiasts who think they’ve got the right stuff simply need to submit an \u003c/span>\u003ca href=\"https://www.facebook.com/events/207820298049424/?ref=newsfeed\">\u003cspan style=\"font-weight: 400\">audition video\u003c/span>\u003c/a> to apply\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\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\u003cp>\u003cspan style=\"font-weight: 400\">Festival director HJ Park says the original plan was to allow up to 200 audience members—each of whom would take home a DIY kimchi goodie bag—but since it’s an indoor event, those plans are up in the air. Either way, the whole competition will be livestreamed via the event’s \u003c/span>\u003ca href=\"https://www.facebook.com/KoreanKimchiFestivalinSF\">\u003cspan style=\"font-weight: 400\">Facebook page\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901710/food-events-fall-2021","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_15290","arts_15307","arts_10278","arts_14183","arts_1297","arts_1694","arts_585","arts_14087"],"featImg":"arts_13902181","label":"source_arts_13901710"},"arts_13903622":{"type":"posts","id":"arts_13903622","meta":{"index":"posts_1716263798","site":"arts","id":"13903622","score":null,"sort":[1630436631000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1630436631,"format":"standard","title":"Nef the Pharaoh's Psychedelic Rhymes Come to Berkeley's Cornerstone","headTitle":"Nef the Pharaoh’s Psychedelic Rhymes Come to Berkeley’s Cornerstone | KQED","content":"\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. [aside postid='arts_13838218']\u003c/p>\n\u003cp>The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\u003cp>Nef the Pharaoh performs at \u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Cornerstone in Berkeley on Oct. 23\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWSVHYBo_7I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":113,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1705007838,"excerpt":"Once mentored by E-40, the Vallejo rapper is psychedelic, streetwise and politically aware. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Once mentored by E-40, the Vallejo rapper is psychedelic, streetwise and politically aware. ","title":"Nef the Pharaoh's Psychedelic Rhymes Come to Berkeley's Cornerstone | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nef the Pharaoh's Psychedelic Rhymes Come to Berkeley's Cornerstone","datePublished":"2021-08-31T12:03:51-07:00","dateModified":"2024-01-11T13:17:18-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"nef-the-pharaohs-psychedelic-rhymes-come-to-berkeleys-cornerstone","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13903622/nef-the-pharaohs-psychedelic-rhymes-come-to-berkeleys-cornerstone","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13838218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\u003cp>Nef the Pharaoh performs at \u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Cornerstone in Berkeley on Oct. 23\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWSVHYBo_7I'\n title='//www.youtube.com/embed/XWSVHYBo_7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/13903622/nef-the-pharaohs-psychedelic-rhymes-come-to-berkeleys-cornerstone","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_15290","arts_15307","arts_3420","arts_585"],"featImg":"arts_13838176","label":"arts_140"},"arts_13901044":{"type":"posts","id":"arts_13901044","meta":{"index":"posts_1716263798","site":"arts","id":"13901044","score":null,"sort":[1630436403000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1630436403,"format":"standard","title":"Must-See Concerts in the Bay Area This Fall","headTitle":"Must-See Concerts in the Bay Area This Fall | KQED","content":"\u003cp>Even with BottleRock and Outside Lands sold out, there are plenty of live music experiences to look forward to this fall, especially beyond the mega-fests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>A concert on a mountaintop, beloved local acts at intimate clubs, a walking sound installation, must-see touring artists—you’ll find it all on this list. And because Bay Area music lovers can never be confined to a single genre or subculture, we’ve tried to include a bit of everything.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/nq33UIpMVo4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/los-rakas-the-new-parish-tickets/11259895\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas with Qing Qi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003cbr>\nSept. 10\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Los Rakas rep Oakland as hard as they do Panama, and influences from the two regions come together in a dynamic, signature sound that bridges Latin trap, hyphy, reggaeton and dancehall. The cousin duo has been rocking in the Bay Area since the mid 2000s, and on their 2019 album, \u003cem>Manes De Negocio\u003c/em>, they pay homage to their Afro-Latino roots and the African diaspora’s enormous contributions to reggaeton and urbano. Known for their pumped-up live shows, Los Rakas take the stage at their hometown concert hall, the New Parish, with support from Qing Qi, the East Palo Alto rapper whose music is delightfully raunchy and rebellious.\u003c/p>\n\u003cp>https://youtu.be/mfdYMKbNLww\u003c/p>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/soundsummit/events/sound-summit-2021-26107\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nSept. 11\u003cbr>\nProof of vaccination or negative COVID test required\u003c/em>\u003c/p>\n\u003cp>Nature lovers know that Mt. Tam is home to some of the most stunning hiking trails in the Bay Area, with 360-degree views of the Pacific Ocean, the Oakland and San Francisco skylines and even Mt. Diablo. This fall, Sound Summit returns to Mt. Tam’s Mountain Theater, a 4,000-seat amphitheater at the peak. The festival’s guitar-forward lineup boasts folk singer-songwriter Father John Misty, New Orleans funk band Cha Wa, Mill Valley folk singer Teal Collins, Texan rocker Lukas Nelson, folk-rock band Allah-Las and DJ Andy Cabic. Their stylings should provide a mellow soundtrack for gazing at the sunset and communing with bluejays and chipmunks. Round-trip bus service up to the top of the mountain is available. And remember, this is one of the Bay Area’s most prized natural treasures, so leave no trace.\u003c/p>\n\u003cp>https://youtu.be/hr-I6-gxecg\u003c/p>\n\u003ch2>\u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Castro Theatre, San Francisco\u003cbr>\nSept. 17\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous. During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum. Their performance at the Castro Theatre should be no less imaginative.\u003c/p>\n\u003cp>https://youtu.be/-k3JwqzgVl8\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/la-santa-cecilia-tickets-96595221909\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Cecilia\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Ritz, San Jose\u003cbr>\nSept. 17\u003c/em>\u003c/p>\n\u003cp>The members of La Santa Cecilia met while busking on the streets of Los Angeles, and together the Grammy-winning group created a sound that spans cumbia, mariachi, jazz and bossa nova—a reflection of their many musical influences as the children of immigrants. Singing in Spanish about topics as varied as family tragedy, immigrant rights and queer love, lead vocalist Marisol Hernandez brings powerful storytelling to the band’s danceable, accordion-, guitar- and percussion-forward compositions.\u003c/p>\n\u003cp>https://youtu.be/2ZfcZEIo6Bw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/400451\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese Breakfast with Luna Li\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Regency Ballroom, San Francisco\u003cbr>\nSept. 30–Oct. 1\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>Michelle Zauner of Japanese Breakfast writes lyrics that trace delicate outlines of emotions, as if drawing on a foggy window on an introspective, snowy day. Her writerly curiosity as a musician propelled her into a second career as an author. Earlier this year, her memoir about her mother’s death and her Korean heritage, \u003cem>Crying in H Mart\u003c/em>, became a \u003cem>New York Times\u003c/em> best seller. And a few months later, in June, she released her critically acclaimed album \u003cem>Jubilee\u003c/em>, an indie rock record with celebratory horns, hopeful strings, stomping dance floor catharses and bittersweet reflections on the fleeting nature of happiness. Harpist, violinist and multi-instrumentalist Luna Li joins her for two nights in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/1NMZ0MpaEuY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/409353/isaiah-rashad-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Rashad\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Warfield, San Francisco\u003cbr>\nOct. 7\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>After five years of silence, Isaiah Rashad returned with what will surely be considered one of the best rap albums of 2021: \u003cem>The House is Burning\u003c/em>. The project chronicles a search for hope after hitting rock bottom, with warm, nostalgic rhythms occasionally destabilized by lurching, gothic undertones. Drawing on influences such as Three 6 Mafia, Outkast and his Top Dawg label mate Kendrick Lamar, Rashad wrote the album after several bad years of substance abuse and mental health issues that forced him to disappear from public life and eventually get clean. He writes with the sage perspective of someone who’s been to hell and back, finding beauty even amid these traumatic experiences, and managing to still have fun.\u003c/p>\n\u003cp>https://youtu.be/bl1IUpOT8NY\u003c/p>\n\u003ch2>\u003ca href=\"http://soundwavesf.com\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various outdoor locations, Bay Area\u003cbr>\nOct. 22, 2021–Feb. 22, 2022\u003c/em>\u003c/p>\n\u003cp>Soundwave made its Translocality festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes. Lalin St. Juste, lead singer of the band the Seshen, created a piece for the Sutro Baths in San Francisco that questions the colonial-era artifact collections of figures like Adolph Sutro, a former San Francisco mayor. Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\u003c/p>\n\u003cp>https://youtu.be/XWSVHYBo_7I\u003c/p>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Cornerstone, Berkeley\u003cbr>\nOct. 23\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1204,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1705007840,"excerpt":"Intimate club gigs, a concert on a mountain top and site-specific sound art are just a few of the musical offerings in our fall preview. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Intimate club gigs, a concert on a mountain top and site-specific sound art are just a few of the musical offerings in our fall preview. ","title":"Must-See Concerts in the Bay Area This Fall | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Must-See Concerts in the Bay Area This Fall","datePublished":"2021-08-31T12:00:03-07:00","dateModified":"2024-01-11T13:17:20-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"fall-2021-concerts-bay-area","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/fallarts2021","templateType":"standard","featuredImageType":"standard","sticky":false,"source":"Fall Arts Guide 2021","path":"/arts/13901044/fall-2021-concerts-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even with BottleRock and Outside Lands sold out, there are plenty of live music experiences to look forward to this fall, especially beyond the mega-fests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>A concert on a mountaintop, beloved local acts at intimate clubs, a walking sound installation, must-see touring artists—you’ll find it all on this list. And because Bay Area music lovers can never be confined to a single genre or subculture, we’ve tried to include a bit of everything.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nq33UIpMVo4'\n title='//www.youtube.com/embed/nq33UIpMVo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/los-rakas-the-new-parish-tickets/11259895\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas with Qing Qi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003cbr>\nSept. 10\u003cbr>\nMasks required\u003c/em>\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>\n\u003cp>Los Rakas rep Oakland as hard as they do Panama, and influences from the two regions come together in a dynamic, signature sound that bridges Latin trap, hyphy, reggaeton and dancehall. The cousin duo has been rocking in the Bay Area since the mid 2000s, and on their 2019 album, \u003cem>Manes De Negocio\u003c/em>, they pay homage to their Afro-Latino roots and the African diaspora’s enormous contributions to reggaeton and urbano. Known for their pumped-up live shows, Los Rakas take the stage at their hometown concert hall, the New Parish, with support from Qing Qi, the East Palo Alto rapper whose music is delightfully raunchy and rebellious.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mfdYMKbNLww'\n title='//www.youtube.com/embed/mfdYMKbNLww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.tixr.com/groups/soundsummit/events/sound-summit-2021-26107\" target=\"_blank\" rel=\"noopener noreferrer\">Sound Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mountain Theater, Mt. Tamalpais State Park, Mill Valley\u003cbr>\nSept. 11\u003cbr>\nProof of vaccination or negative COVID test required\u003c/em>\u003c/p>\n\u003cp>Nature lovers know that Mt. Tam is home to some of the most stunning hiking trails in the Bay Area, with 360-degree views of the Pacific Ocean, the Oakland and San Francisco skylines and even Mt. Diablo. This fall, Sound Summit returns to Mt. Tam’s Mountain Theater, a 4,000-seat amphitheater at the peak. The festival’s guitar-forward lineup boasts folk singer-songwriter Father John Misty, New Orleans funk band Cha Wa, Mill Valley folk singer Teal Collins, Texan rocker Lukas Nelson, folk-rock band Allah-Las and DJ Andy Cabic. Their stylings should provide a mellow soundtrack for gazing at the sunset and communing with bluejays and chipmunks. Round-trip bus service up to the top of the mountain is available. And remember, this is one of the Bay Area’s most prized natural treasures, so leave no trace.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hr-I6-gxecg'\n title='//www.youtube.com/embed/hr-I6-gxecg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://thechapelsf.com/e/the-residents-at-the-castro-theatre-161017813615/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Castro Theatre, San Francisco\u003cbr>\nSept. 17\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>The Residents have been creating delightfully wacky music, performance and multimedia art in the Bay Area since 1969, making them as much of an institution as, say, the San Francisco Symphony or the Sisters of Perpetual Indulgence. Throughout their boundless career, they’ve written spoken-word rock operas, created fictional universes, scored documentaries and helped popularize the art of the music video. And all the while, the members of the collective have remained mostly anonymous. During the last several years, their album release schedule has remained as prolific as ever, and in 2020 they performed at the Museum of Modern Art. The subject matter? “A ruined evangelist and his twisted obsession with a pair of gender-fluid conjoined twins he claims are miracle workers,” according to the museum. Their performance at the Castro Theatre should be no less imaginative.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-k3JwqzgVl8'\n title='//www.youtube.com/embed/-k3JwqzgVl8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/la-santa-cecilia-tickets-96595221909\" target=\"_blank\" rel=\"noopener noreferrer\">La Santa Cecilia\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Ritz, San Jose\u003cbr>\nSept. 17\u003c/em>\u003c/p>\n\u003cp>The members of La Santa Cecilia met while busking on the streets of Los Angeles, and together the Grammy-winning group created a sound that spans cumbia, mariachi, jazz and bossa nova—a reflection of their many musical influences as the children of immigrants. Singing in Spanish about topics as varied as family tragedy, immigrant rights and queer love, lead vocalist Marisol Hernandez brings powerful storytelling to the band’s danceable, accordion-, guitar- and percussion-forward compositions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2ZfcZEIo6Bw'\n title='//www.youtube.com/embed/2ZfcZEIo6Bw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.theregencyballroom.com/events/detail/400451\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese Breakfast with Luna Li\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Regency Ballroom, San Francisco\u003cbr>\nSept. 30–Oct. 1\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>Michelle Zauner of Japanese Breakfast writes lyrics that trace delicate outlines of emotions, as if drawing on a foggy window on an introspective, snowy day. Her writerly curiosity as a musician propelled her into a second career as an author. Earlier this year, her memoir about her mother’s death and her Korean heritage, \u003cem>Crying in H Mart\u003c/em>, became a \u003cem>New York Times\u003c/em> best seller. And a few months later, in June, she released her critically acclaimed album \u003cem>Jubilee\u003c/em>, an indie rock record with celebratory horns, hopeful strings, stomping dance floor catharses and bittersweet reflections on the fleeting nature of happiness. Harpist, violinist and multi-instrumentalist Luna Li joins her for two nights in San Francisco.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1NMZ0MpaEuY'\n title='//www.youtube.com/embed/1NMZ0MpaEuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.axs.com/events/409353/isaiah-rashad-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Rashad\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Warfield, San Francisco\u003cbr>\nOct. 7\u003cbr>\nProof of vaccination and masks required\u003c/em>\u003c/p>\n\u003cp>After five years of silence, Isaiah Rashad returned with what will surely be considered one of the best rap albums of 2021: \u003cem>The House is Burning\u003c/em>. The project chronicles a search for hope after hitting rock bottom, with warm, nostalgic rhythms occasionally destabilized by lurching, gothic undertones. Drawing on influences such as Three 6 Mafia, Outkast and his Top Dawg label mate Kendrick Lamar, Rashad wrote the album after several bad years of substance abuse and mental health issues that forced him to disappear from public life and eventually get clean. He writes with the sage perspective of someone who’s been to hell and back, finding beauty even amid these traumatic experiences, and managing to still have fun.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bl1IUpOT8NY'\n title='//www.youtube.com/embed/bl1IUpOT8NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://soundwavesf.com\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various outdoor locations, Bay Area\u003cbr>\nOct. 22, 2021–Feb. 22, 2022\u003c/em>\u003c/p>\n\u003cp>Soundwave made its Translocality festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes. Lalin St. Juste, lead singer of the band the Seshen, created a piece for the Sutro Baths in San Francisco that questions the colonial-era artifact collections of figures like Adolph Sutro, a former San Francisco mayor. Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWSVHYBo_7I'\n title='//www.youtube.com/embed/XWSVHYBo_7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Nef-The-Pharaoh/433315?afflky=CornerstoneBerkeley\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Cornerstone, Berkeley\u003cbr>\nOct. 23\u003cbr>\nMasks required\u003c/em>\u003c/p>\n\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\u003cp>A Bay Area treasure, Nef the Pharaoh is carrying the torch of E-40 and Mac Dre with rhymes that are streetwise, politically aware, raunchy and occasionally psychedelic. The Vallejo native raps with the momentum of a bouncy ball, moving quickly between ideas and sometimes going in unpredictable directions. His breakout hit “Big Tymin” put him on the map in 2015, and since then he hasn’t slowed down with releases that have earned him a cult following—most recently, 2021’s \u003cem>SINsational\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13901044/fall-2021-concerts-bay-area","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_3607","arts_15307","arts_10278","arts_21788","arts_2151","arts_3420","arts_585"],"featImg":"arts_13825623","label":"source_arts_13901044"},"arts_13903385":{"type":"posts","id":"arts_13903385","meta":{"index":"posts_1716263798","site":"arts","id":"13903385","score":null,"sort":[1630435583000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1630435583,"format":"standard","title":"Soundwave: Translocality Creates Soundscapes for Bay Area Landmarks","headTitle":"Soundwave: Translocality Creates Soundscapes for Bay Area Landmarks | KQED","content":"\u003cp>Soundwave made its \u003ca href=\"https://grayarea.org/initiative/soundwave-next-translocality/\" target=\"_blank\" rel=\"noopener noreferrer\">Translocality\u003c/a> festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz/\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes.\u003c/p>\n\u003cp>Lalin St. Juste, lead singer of the band The Seshen, created a piece for the Sutro Baths in San Francisco that examines the ruins as an unexpected site for a civil rights victory in the 19th century. In 1897, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a> sued developer and former San Francisco Mayor Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation. [aside postid='arts_13903130']\u003c/p>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece.\u003c/p>\n\u003cp>Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\u003c/p>\n\u003cp>Translocality takes place Oct. 22-Feb. 22, 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":245,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":7},"modified":1705007845,"excerpt":"Listeners can hear sound art by Lalin. St. Juste, Tyler Holmes and others as they make their way through the Sutro Baths and other locations. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Listeners can hear sound art by Lalin. St. Juste, Tyler Holmes and others as they make their way through the Sutro Baths and other locations. ","title":"Soundwave: Translocality Creates Soundscapes for Bay Area Landmarks | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Soundwave: Translocality Creates Soundscapes for Bay Area Landmarks","datePublished":"2021-08-31T11:46:23-07:00","dateModified":"2024-01-11T13:17:25-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"soundwave-translocality-creates-soundscapes-for-bay-area-landmarks","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13903385/soundwave-translocality-creates-soundscapes-for-bay-area-landmarks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soundwave made its \u003ca href=\"https://grayarea.org/initiative/soundwave-next-translocality/\" target=\"_blank\" rel=\"noopener noreferrer\">Translocality\u003c/a> festival COVID-safe by commissioning site-specific works that listeners can access via the \u003ca href=\"https://echoes.xyz/\" target=\"_blank\" rel=\"noopener noreferrer\">Echoes app\u003c/a> as they walk through various landscapes.\u003c/p>\n\u003cp>Lalin St. Juste, lead singer of the band The Seshen, created a piece for the Sutro Baths in San Francisco that examines the ruins as an unexpected site for a civil rights victory in the 19th century. In 1897, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a> sued developer and former San Francisco Mayor Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13903130","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece.\u003c/p>\n\u003cp>Travis “Queen” Roland takes participants into the National AIDS Memorial Grove in Golden Gate Park, where they’ll listen to a soundtrack that pays homage to queer nightlife, punk rock, cruising and drag from the ’70s to now, and then takes us into the future. The other artists are Rumi Koshino, Fereshteh Toosi, Dylan Marx, LeAnn Perry, John Patrick Moore, Akaina Ghosh, Tyler Holmes and Dario Slavazza.\u003c/p>\n\u003cp>Translocality takes place Oct. 22-Feb. 22, 2022.\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903385/soundwave-translocality-creates-soundscapes-for-bay-area-landmarks","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_15290","arts_15307","arts_585"],"featImg":"arts_13903619","label":"arts_140"},"arts_13903383":{"type":"posts","id":"arts_13903383","meta":{"index":"posts_1716263798","site":"arts","id":"13903383","score":null,"sort":[1630434085000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1630434085,"format":"standard","title":"Isaiah Rashad Brings His Dark, Confessional Raps to the Warfield","headTitle":"Isaiah Rashad Brings His Dark, Confessional Raps to the Warfield | KQED","content":"\u003cp>After five years of silence, \u003ca href=\"https://isaiahrashad.lnk.to/thib\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Rashad\u003c/a> returned with what will surely be considered one of the best rap albums of 2021: \u003cem>The House is Burning\u003c/em>. The project chronicles a search for hope after hitting rock bottom, with warm, nostalgic rhythms occasionally destabilized by lurching, gothic undertones.\u003c/p>\n\u003cp>Drawing on influences such as Three 6 Mafia, Outkast and his Top Dawg label mate Kendrick Lamar, Rashad wrote the album after several bad years of substance abuse and mental health issues that forced him to disappear from public life and eventually get clean. He writes with the sage perspective of someone who’s been to hell and back, finding beauty even amid these traumatic experiences, and managing to still have fun.\u003c/p>\n\u003cp>Rashad performs at \u003ca href=\"https://www.axs.com/events/409353/isaiah-rashad-tickets?skin=warfield&src=AEGLIVE_WWRFLSFO022715VEN001\" target=\"_blank\" rel=\"noopener noreferrer\">The Warfield in San Francisco on Oct. 7\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1NMZ0MpaEuY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":141,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":5},"modified":1705007847,"excerpt":"With a sound that references Outkast and Three 6 Mafia, Isaiah Rashad makes music from the wise perspective of someone who's been to hell and back. 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