St. Vincent at Grace Cathedral: Rock ‘n’ Roll Genius — and Comedy Gold
An All-Star Celebration of Life for Zakir Hussain at Grace Cathedral
Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship
Ambrose Akinmusire Is Skipping the Grammys to Honor His Music Heroes
Things That Go Bump in the Bay: 9 Halloween Events for 2022
See Grace Cathedral With Fresh Eyes on New Self-Guided Tour
Explore a Dramatic Dance Display Inside Grace Cathedral
Now Playing! Silent Scaries at Grace and Doc Stories at the Vogue and Castro
The Do List: 'Nosferatu,' Dogs in Costume, Guitar Virtuosos and More for Halloween
Grace Cathedral in San Francisco to Host 'Beyoncé Mass'
A Path of Miracles Leading to Grace Cathedral
SF Gay Men's Chorus Ups Security for Southern States Tour
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"content": "\u003cp>St. Vincent has a soft spot for San Francisco. Bathed in red light beneath Grace Cathedral’s high ceilings Sunday night, the artist remembered first arriving here from suburban Dallas as a teenager to visit her aunt and uncle, the jazz duo Tuck & Patti. Showing her around town, they took her to Amoeba Music on Haight Street, where a cashier with a cool haircut and Replacements T-shirt invited the young St. Vincent to start a band.\u003c/p>\n\u003cp>“Oh, there’s life outside. There’s a whole city of fuckin’ freaks,” St. Vincent remembered realizing. The former teenage misfits in the audience approvingly cheered. “There’s some place I belong.”\u003c/p>\n\u003cp>Coming off an incredibly hot streak — performing at \u003ca href=\"https://www.kqed.org/arts/13971898/how-to-watch-saturday-night-live-snl-50th-anniversary-special\">SNL50\u003c/a>, winning three Grammys, fronting Nirvana at FireAid LA — St. Vincent came back to San Francisco on Sunday night to have some fun. At Grace Cathedral, she kicked off her shoes, sang stunning ballads and snuck in a few dirty jokes.\u003c/p>\n\u003cfigure id=\"attachment_13972239\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg\" alt=\"view down church nave dramatically lit with red light, performer on stage at altar\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the iconic landmark was part of \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, and was clearly the festival’s biggest get. When St. Vincent comes to the Bay, she usually plays large-capacity venues like Bill Graham Civic Auditorium and the Greek Theatre. Naturally, tickets sold out immediately for the intimate show at the Gothic church perched atop Nob Hill.\u003c/p>\n\u003cp>Dressed in a black silk top, matching skirt and sheer stockings, St. Vincent appeared holding her signature angular guitar through a mist of fog that floated up to the 91-ft. high ceilings. She began her set elegantly with “Hell Is Near,” the opening track of her 2024 album \u003ci>All Born Screaming\u003c/i>. With a slower tempo, and drums and electronics stripped away, St. Vincent’s unfiltered voice came through with striking clarity, tenderness and range as the keyboardist from her band, Rachel Eckroth, accompanied her on grand piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This minimalist approach to St. Vincent’s new material offered space to contemplate her existential lyrics, all about embracing, almost in a Buddhist way, the agony and ecstasy that make up our short time here on Earth. During “Violent Times,” she followed up a line about the petrified lovers of Pompeii with a raw, emotional vocal run; chills passed down my spine, and my eyes welled up with tears.\u003c/p>\n\u003cfigure id=\"attachment_13972241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972241\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg\" alt=\"white woman in black jacket and skirt laughs while holding mic on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent laughs on stage during her sold-out Feb. 23, 2025 show at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the poetry and beauty of her music, St. Vincent is also goofy as hell, and posseses impeccable comedic timing. When choosing her setlist from her vast catalogue, she stayed away from the punchy synth-pop of “Loss Ageless” or snarling guitar licks of “Broken Man,” and leaned into her older ballads.\u003c/p>\n\u003cp>“Here’s another blast from the past — another \u003ci>finger\u003c/i> blast from the past,” she said impishly as she introduced “Marry Me,” a love song addressed to a man, which put St. Vincent on the map in 2007. Delayed giggles rang throughout the church as people got the joke. She sweetly sang the line, “You won’t realize I’ve gone,” before breaking out of character and exclaiming her truth: “’Cause I’m gay!”\u003c/p>\n\u003cp>St. Vincent: rock ‘n’ roll genius and … secret comedian?\u003c/p>\n\u003cfigure id=\"attachment_13972243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg\" alt=\"woman in black outfit lays on top of piano facing piano player on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, let’s \u003cem>gooo\u003c/em>, San Francisco, it’s another motherfuckin’ heartfelt ballad,” she called out in the deep bellow of a sports bro before coyly perching up on the piano to sing the love song “Candy Darling” from \u003ci>Daddy’s Home\u003c/i>, her 2021 album oozing with early ’70s sleaze.\u003c/p>\n\u003cp>She might’ve been relaxed and playful, but St. Vincent’s singing and guitar playing never faltered. The gorgeous 90-minute set came to a close with a sparse, downtempo version of her funk song “The Melting of the Sun,” which she ended with a guitar solo delicate as a spider web as she ushered us into the foggy, moonlit night.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noisepop.com/\">Noise Pop concerts continue\u003c/a> at San Francisco venues through March 2.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>St. Vincent has a soft spot for San Francisco. Bathed in red light beneath Grace Cathedral’s high ceilings Sunday night, the artist remembered first arriving here from suburban Dallas as a teenager to visit her aunt and uncle, the jazz duo Tuck & Patti. Showing her around town, they took her to Amoeba Music on Haight Street, where a cashier with a cool haircut and Replacements T-shirt invited the young St. Vincent to start a band.\u003c/p>\n\u003cp>“Oh, there’s life outside. There’s a whole city of fuckin’ freaks,” St. Vincent remembered realizing. The former teenage misfits in the audience approvingly cheered. “There’s some place I belong.”\u003c/p>\n\u003cp>Coming off an incredibly hot streak — performing at \u003ca href=\"https://www.kqed.org/arts/13971898/how-to-watch-saturday-night-live-snl-50th-anniversary-special\">SNL50\u003c/a>, winning three Grammys, fronting Nirvana at FireAid LA — St. Vincent came back to San Francisco on Sunday night to have some fun. At Grace Cathedral, she kicked off her shoes, sang stunning ballads and snuck in a few dirty jokes.\u003c/p>\n\u003cfigure id=\"attachment_13972239\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg\" alt=\"view down church nave dramatically lit with red light, performer on stage at altar\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-23-0417555-unwatermarked-NR-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The concert at the iconic landmark was part of \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, and was clearly the festival’s biggest get. When St. Vincent comes to the Bay, she usually plays large-capacity venues like Bill Graham Civic Auditorium and the Greek Theatre. Naturally, tickets sold out immediately for the intimate show at the Gothic church perched atop Nob Hill.\u003c/p>\n\u003cp>Dressed in a black silk top, matching skirt and sheer stockings, St. Vincent appeared holding her signature angular guitar through a mist of fog that floated up to the 91-ft. high ceilings. She began her set elegantly with “Hell Is Near,” the opening track of her 2024 album \u003ci>All Born Screaming\u003c/i>. With a slower tempo, and drums and electronics stripped away, St. Vincent’s unfiltered voice came through with striking clarity, tenderness and range as the keyboardist from her band, Rachel Eckroth, accompanied her on grand piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This minimalist approach to St. Vincent’s new material offered space to contemplate her existential lyrics, all about embracing, almost in a Buddhist way, the agony and ecstasy that make up our short time here on Earth. During “Violent Times,” she followed up a line about the petrified lovers of Pompeii with a raw, emotional vocal run; chills passed down my spine, and my eyes welled up with tears.\u003c/p>\n\u003cfigure id=\"attachment_13972241\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972241\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg\" alt=\"white woman in black jacket and skirt laughs while holding mic on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417761-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent laughs on stage during her sold-out Feb. 23, 2025 show at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the poetry and beauty of her music, St. Vincent is also goofy as hell, and posseses impeccable comedic timing. When choosing her setlist from her vast catalogue, she stayed away from the punchy synth-pop of “Loss Ageless” or snarling guitar licks of “Broken Man,” and leaned into her older ballads.\u003c/p>\n\u003cp>“Here’s another blast from the past — another \u003ci>finger\u003c/i> blast from the past,” she said impishly as she introduced “Marry Me,” a love song addressed to a man, which put St. Vincent on the map in 2007. Delayed giggles rang throughout the church as people got the joke. She sweetly sang the line, “You won’t realize I’ve gone,” before breaking out of character and exclaiming her truth: “’Cause I’m gay!”\u003c/p>\n\u003cp>St. Vincent: rock ‘n’ roll genius and … secret comedian?\u003c/p>\n\u003cfigure id=\"attachment_13972243\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg\" alt=\"woman in black outfit lays on top of piano facing piano player on stage\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/St-Vincent-Grace-Cathedral-PARSONS-2025-02-24-0417708-Enhanced-NR-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">St. Vincent at Grace Cathedral. \u003ccite>(Paige K. Parsons/Noise Pop Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Yeah, let’s \u003cem>gooo\u003c/em>, San Francisco, it’s another motherfuckin’ heartfelt ballad,” she called out in the deep bellow of a sports bro before coyly perching up on the piano to sing the love song “Candy Darling” from \u003ci>Daddy’s Home\u003c/i>, her 2021 album oozing with early ’70s sleaze.\u003c/p>\n\u003cp>She might’ve been relaxed and playful, but St. Vincent’s singing and guitar playing never faltered. The gorgeous 90-minute set came to a close with a sparse, downtempo version of her funk song “The Melting of the Sun,” which she ended with a guitar solo delicate as a spider web as she ushered us into the foggy, moonlit night.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noisepop.com/\">Noise Pop concerts continue\u003c/a> at San Francisco venues through March 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Zakir Hussain, the world-renowned Indian tabla maestro, was known for his unique ability to connect with artists across all types of musical genres like bluegrass, jazz and rock.\u003c/p>\n\u003cp>“His instruments were like the rains, dense sheets of sounds performed like blurs of lightning-fast fingers on small, tuned drums,” Grateful Dead drummer Mickey Hart said \u003ca href=\"https://www.instagram.com/mickeyhart/p/DDplkmjz9qM/?img_index=1\">in a post\u003c/a> about Hussain, who died in December at the age of 73. “With the skill of a surgeon, he weaved a rhythmic spell with each finger at the most rapid speeds that can be imaginable. The world will never be the same without him.”\u003c/p>\n\u003cp>[aside postID='arts_13969516']Now Hart, along with over two dozen prominent artists like Charles Lloyd, Joshua Redman, and Julian Lage, are preparing to gather to pay respects to Hussain through music. The \u003ca href=\"https://buy.acmeticketing.com/events/516/detail/6792e130662efc3b066b1b56?date=2025-02-28T00:00:00-0800\">one-time-only memorial concert\u003c/a>, organized by Hussain’s family, will take place Friday, Feb. 28, at San Francisco’s Grace Cathedral. Also on the lineup are performances by Béla Fleck, Jayanthi Kumaresh, Third Coast Percussion, Anantha Krishnan, Eric Harland, Dave Holland, Chris Potter, John Sanchez and more.\u003c/p>\n\u003cp>The event aims to bring together not only fans of Hussain’s music, but his music industry friends, too. Tickets for the event start at $65, with special ticket options and prices for reserved seating and undergraduate students. All proceeds are being directed to the Zakir Hussain Institute of Music.\u003c/p>\n\u003cp>Hussain lived for decades just north of the Golden Gate Bridge, in the Marin County town of San Anselmo. Every detail of the event, from the lineup of featured artists to the cathedral itself — where Hussain played in years past — has been thoughtfully chosen to honor Hussain’s musical legacy and lasting mark on the Bay Area.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘A Celebration of the Life and Music of Zakir Hussain’ takes place on Friday, Feb. 28, at Grace Cathedral in San Francisco. \u003ca href=\"https://buy.acmeticketing.com/events/516/list?date=2025-02-28T00:00:00-0800\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zakir Hussain, the world-renowned Indian tabla maestro, was known for his unique ability to connect with artists across all types of musical genres like bluegrass, jazz and rock.\u003c/p>\n\u003cp>“His instruments were like the rains, dense sheets of sounds performed like blurs of lightning-fast fingers on small, tuned drums,” Grateful Dead drummer Mickey Hart said \u003ca href=\"https://www.instagram.com/mickeyhart/p/DDplkmjz9qM/?img_index=1\">in a post\u003c/a> about Hussain, who died in December at the age of 73. “With the skill of a surgeon, he weaved a rhythmic spell with each finger at the most rapid speeds that can be imaginable. The world will never be the same without him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now Hart, along with over two dozen prominent artists like Charles Lloyd, Joshua Redman, and Julian Lage, are preparing to gather to pay respects to Hussain through music. The \u003ca href=\"https://buy.acmeticketing.com/events/516/detail/6792e130662efc3b066b1b56?date=2025-02-28T00:00:00-0800\">one-time-only memorial concert\u003c/a>, organized by Hussain’s family, will take place Friday, Feb. 28, at San Francisco’s Grace Cathedral. Also on the lineup are performances by Béla Fleck, Jayanthi Kumaresh, Third Coast Percussion, Anantha Krishnan, Eric Harland, Dave Holland, Chris Potter, John Sanchez and more.\u003c/p>\n\u003cp>The event aims to bring together not only fans of Hussain’s music, but his music industry friends, too. Tickets for the event start at $65, with special ticket options and prices for reserved seating and undergraduate students. All proceeds are being directed to the Zakir Hussain Institute of Music.\u003c/p>\n\u003cp>Hussain lived for decades just north of the Golden Gate Bridge, in the Marin County town of San Anselmo. Every detail of the event, from the lineup of featured artists to the cathedral itself — where Hussain played in years past — has been thoughtfully chosen to honor Hussain’s musical legacy and lasting mark on the Bay Area.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘A Celebration of the Life and Music of Zakir Hussain’ takes place on Friday, Feb. 28, at Grace Cathedral in San Francisco. \u003ca href=\"https://buy.acmeticketing.com/events/516/list?date=2025-02-28T00:00:00-0800\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship",
"headTitle": "Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship | KQED",
"content": "\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland-born jazz trumpeter \u003ca href=\"https://www.ambroseakinmusire.com/\">Ambrose Akinmusire\u003c/a> received the second Grammy nomination of his career in November. It was for Best Improvised Jazz Solo, with the song “Rounds (Live)” on Terri Lynne Carrington’s pivotal \u003cem>\u003ca href=\"https://www.npr.org/2022/09/21/1124362063/terri-lyne-carrington-addresses-womens-omission-from-jazz-canon-with-new-standar\">New Standards, Vol. 1\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But Akinmusire won’t be in Los Angeles on Feb. 5 for this year’s awards ceremony. Instead, the acclaimed musician will be in the Bay — where he’s based — paying tribute to his musical mentors, with a new residency Feb. 3–9 at SFJAZZ.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13887363\"]Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dm2eK__EbUw\u003c/p>\n\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=86PPN1zVdZw\u003c/p>\n\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-born jazz trumpeter \u003ca href=\"https://www.ambroseakinmusire.com/\">Ambrose Akinmusire\u003c/a> received the second Grammy nomination of his career in November. It was for Best Improvised Jazz Solo, with the song “Rounds (Live)” on Terri Lynne Carrington’s pivotal \u003cem>\u003ca href=\"https://www.npr.org/2022/09/21/1124362063/terri-lyne-carrington-addresses-womens-omission-from-jazz-canon-with-new-standar\">New Standards, Vol. 1\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But Akinmusire won’t be in Los Angeles on Feb. 5 for this year’s awards ceremony. Instead, the acclaimed musician will be in the Bay — where he’s based — paying tribute to his musical mentors, with a new residency Feb. 3–9 at SFJAZZ.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\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/Dm2eK__EbUw'\n title='//www.youtube.com/embed/Dm2eK__EbUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\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/86PPN1zVdZw'\n title='//www.youtube.com/embed/86PPN1zVdZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-halloween-events-guide-2022-sf-oakland-san-jose-sausalito",
"title": "Things That Go Bump in the Bay: 9 Halloween Events for 2022",
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"headTitle": "Things That Go Bump in the Bay: 9 Halloween Events for 2022 | KQED",
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"content": "\u003cp>We know, we know. There’s too much to be done already. There’s a hay maze on the horizon and pumpkins to spend four hours picking out, only to carve them up into oblivion. There are costumes to plan and candy to buy and decorations to hang and your local neighborhood Spirit store to run amok in. But once all of that’s done, you have to actually pick some events to go to. Which is where this handy guide comes in.\u003c/p>\n\u003cp>There is something for everyone this year, whether you’re a screaming (drag) queen, a movie buff, a rock ’n’ roller, or a pet with a wardrobe. Altogether now! \u003cem>It’s creepy and it’s kooky / Mysterious and spooky / It’s all together ooky / Bay Area Halloween!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-800x485.png\" alt=\"A woman wearing a corset, knee high socks and rat-like face paint sits next to a figure in a black cloak and rat mask, holding a scythe.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-800x485.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-1020x619.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-1536x931.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM.png 1814w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Halloween Meltdown will include a haunted house and a costume contest. Contestants—like these two from last year—are encouraged to get as weird as possible. \u003ccite>(Grant Kerber/ Halloween Meltdown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://halloweenmeltdown.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Halloween Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 8 and 9, 12–10pm\u003c/em>\u003c/p>\n\u003cp>Most people will come to the Halloween Meltdown for the music: sets from \u003ca href=\"https://www.kqed.org/arts/13916142/halloween-meltdown-line-up-mosswood-john-waters-amyl-shannon\" target=\"_blank\" rel=\"noopener noreferrer\">Amyl and the Sniffers, Lydia Lunch, Josie Cotton and many more\u003c/a>. But for a smaller, creepier bunch, the weekend will be all about the costume contest (there was a $500 prize last year!) and much-anticipated on-site haunted house. Artist and horror enthusiast \u003ca href=\"https://www.robfletcherisneat.com/aboutrobfletcherart\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Fletcher\u003c/a> has been meticulously designing the tented attraction for months.\u003c/p>\n\u003cp>“The Haunt is going to be a throwback to 1960s and ’70s-style dark carnival rides, but very much centered around trash culture,” Fletcher tells KQED Arts. “There will be gore. There will be vulgarity. There will be lobsters! If all goes according to plan, it should be total chaos.”\u003c/p>\n\u003cfigure id=\"attachment_13918547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-11.13.17-AM-800x536.png\" alt=\"A beautiful woman with long dark hair points at something on the horizon. To her side, a hunched over man with distorted features and bulging eyes.\" width=\"800\" height=\"536\">\u003cfigcaption class=\"wp-caption-text\">Patsy Ruth Miller and Lon Chaney star as Esmeralda and Quasimodo in 1923’s ‘The Hunchback of Notre Dame.’\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/the-hunchback-of-notre-dame/\" target=\"_blank\" rel=\"noopener noreferrer\">‘The Hunchback of Notre Dame’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Grace Cathedral, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 7:30pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You’d be hard pressed to find a better venue than Grace Cathedral for a screening of 1923’s \u003cem>Hunchback of Notre Dame\u003c/em>—save for the real life Parisian cathedral, of course. Everything about Wallace Worsley’s silent masterpiece is epic: its detailed replica of the real-life Notre-Dame, the thousands of extras used on set and, best of all, Lon Chaney bringing pathos (and not a little athleticism) to a monstrous visage.\u003c/p>\n\u003cp>As an \u003ca href=\"https://www.sfjazz.org/smartseat/?performanceNumber=15609#/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJazz presentation\u003c/a>, organist and composer \u003ca href=\"https://www.dorothypapadakos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Papadakos\u003c/a> will live score the horror classic. Papadakos has been passionate about using her musical prowess to bring old classics to life for years now, with previous presentations of \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> and \u003cem>Nosferatu\u003c/em>. Papadakos will even provide a brief history of the film before she takes her seat behind the 7,500-pipes of Grace’s 88-year-old Aeolian-Skinner organ.\u003c/p>\n\u003cfigure id=\"attachment_13918776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Unhinged_1280x960_2022-800x600.jpg\" alt=\"An artist's rendering of the Winchester Mystery House is depicted from above, with green light streaming from its many windows. A woman's green eyes hover above its roof. A clawed hand reaches up from underneath.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Winchester Mystery House’s ‘Unhinged: Nightshades Curse’ event will blur the lines between fiction and reality within the wall’s of San Jose’s weirdest house. \u003ccite>(Courtesy of Winchester Mystery House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://winchestermysteryhouse.com/unhinged/\" target=\"_blank\" rel=\"noopener noreferrer\">Winchester Mystery House—Unhinged: Nightshades Curse\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Winchester Mystery House, San Jose\u003c/em>\u003cbr>\n\u003cem>Sept. 13—Oct. 31 (16 select dates)\u003c/em>\u003c/p>\n\u003cp>There’s plenty to be creeped out by in the Winchester Mystery House on any given day. The seance room full of one-way doors. The preponderance of the number 13 in the windows and decorative features. That damn door on the second floor that would send you plummeting to death or serious injury if you walked through it. But for Halloween, the Mystery House is ramping things up even further with 16 immersive evenings that step beyond the \u003ca href=\"https://en.wikipedia.org/wiki/Sarah_Winchester\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Winchester\u003c/a> legend.\u003c/p>\n\u003cp>The \u003cem>Nightshade’s Curse\u003c/em> event is set in 1949. A fictitious carnival owner and paranormal investigator named Madame Nightshade has temporarily taken over the property to ghost hunt within the house. Meanwhile, her small carnival has set up on the grounds to entertain guests with games and tricks, plus food offerings and a bar. There will be self-guided tours of the labyrinthian home throughout the evening, and not all routes will be the same. A word of warning before you go: Guests shouldn’t be surprised to run into a ghost or two…\u003c/p>\n\u003cfigure id=\"attachment_13918563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1049883642-800x533.jpg\" alt=\"Two dogs sit side-by-side on an outdoor step. They are draped in sheets with eyes and nose holes cut out so they look like cartoon ghosts. They are surrounded by pumpkins.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">This is what Halloween is all about, people. Dogs dressed as ghosts. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sausalito.gov/departments/parks-and-recreation/events/halloween-sausalito\" target=\"_blank\" rel=\"noopener noreferrer\">Howl’O’Ween Dog Costume Contest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Robin Sweeny Park, Sausalito\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 6:30pm\u003c/em>\u003c/p>\n\u003cp>There are two things that we all absolutely, fundamentally deserve on Halloween. The first is candy. The second is dogs wearing costumes. That’s it. Everything else is incidental. (I said what I said.)\u003c/p>\n\u003cp>There’s a lot going on in Sausalito this Halloween for kids, grown-ups and pets. A parade starts at 6pm at the Station 1 Firehouse and ends at a special Trick or Treat Lane. The City Hall Game Room hosts a haunted house. But the most important thing of all is that the Howl’O’Ween Dog Costume Contest is happening. It’s free to enter and there are three prize categories: best little dog (under 35 lbs.), best big dog (over 35 lbs.) and best couple (human and dog). In all, perfect for those who like their Halloween to be more heartwarming than bone-chilling.\u003c/p>\n\u003cp>(And if you can’t wait that long to see dogs in outfits, you might also want to stop by the \u003ca href=\"https://www.eventbrite.com/e/paws-for-a-cause-dog-festival-halloween-costume-contest-tickets-349013196867\" target=\"_blank\" rel=\"noopener noreferrer\">Paws For a Cause Dog Festival and Halloween Costume Contest\u003c/a> at San Francisco’s Marina Green, Oct. 15, 11am–4pm.)\u003c/p>\n\u003cfigure id=\"attachment_13918779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-511722458-800x533.jpg\" alt=\"A stalking cap, handcuffs, magnifying glass, pipe, key and piece of rolled up paper lie on top of an old sepia-toned map.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Camron-Stanford House needs your assistance in solving a murder mystery… \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cshouse.org/visit\" target=\"_blank\" rel=\"noopener noreferrer\">Murder in Old Oakland: A Victorian Whodunit Game\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Camron-Stanford House, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 21, 7pm\u003c/em>\u003c/p>\n\u003cp>October is always a good time to visit the Camron-Stanford House. Every year, this Lake Merritt gem puts on its creepiest finery and gets into the Halloween spirit, Victorian-style. (Which, as we all know, is the scariest kind, on account of the Victorian obsession with trying to conjure dead people every five minutes.)\u003c/p>\n\u003cp>This year is no different. Camron-Stanford is offering a new exhibit, \u003cem>Ghoulish & Ghastly: 19th Century Monsters in Popular Culture\u003c/em> starting Oct. 2, as well as \u003ca href=\"https://www.cshouse.org/events/the-haunted-garden-2022\" target=\"_blank\" rel=\"noopener noreferrer\">the Haunted Garden\u003c/a>, an annual, family-friendly Halloween party on Oct. 30. In addition this year, amateur sleuths are invited to come to the house and help solve a murder in a \u003cem>Clue\u003c/em>-style game that encourages Victorian cosplay.\u003c/p>\n\u003cp>This Oct. 21 whodunit will begin in 1890 at a memorial reception for a recently murdered wealthy Oakland man. The evening’s hosts, Franklina and William will offer clues to help you catch the killer before they get the chance to strike again. Adding to the fun? The game includes characters based on real people from Oakland history, so everyone will learn a little something too.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The SF Symphony Explores Myth, Magic and Horror\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley and Davies Symphony Hall, San Francisco \u003c/em>\u003cbr>\n\u003cem>Oct. 21–29, times vary\u003c/em>\u003c/p>\n\u003cp>SF Symphony’s Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a> is conducting special programs scattered throughout October that lean into themes of magic, myth and horror—and there are three distinct Halloween highlights.\u003c/p>\n\u003cp>The first is Modest Mussorgsky’s “\u003ca href=\"https://secure.calperformances.org/17600\" target=\"_blank\" rel=\"noopener noreferrer\">Night on Bald Mountain\u003c/a>” (Oct. 21) performed at Berkeley’s Zellerbach Hall. The plot includes witches, demons, serpents, dark spirits and even Satan himself. Then, back in San Francisco, Salonen leads three nights (Oct. 27–29) combining \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Frankenstein-Psycho\" target=\"_blank\" rel=\"noopener noreferrer\">H.K. Gruber’s \u003cem>Frankenstein!!\u003c/em> and Bernard Herrmann’s suite from \u003cem>Psycho\u003c/em>\u003c/a>. Finally, and for those who need something a little more kid-friendly, there’s \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hocus-Pocus\" target=\"_blank\" rel=\"noopener noreferrer\">a special presentation of \u003cem>Hocus Pocus\u003c/em>\u003c/a> on Oct. 25, with the symphony live scoring the proceedings.\u003c/p>\n\u003cp>Who says orchestras have to be stuffy?\u003c/p>\n\u003cfigure id=\"attachment_13917779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-800x534.png\" alt=\"A drag queen with exaggerated facial features stands in a cave-like setting wearing a black lace high-collared gown. Behind her are multiple mannequin torsos, one of which is wearing tassled pasties.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM.png 1838w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From the twisted brain of Peaches Christ (and friends): ‘Into the Dark: The Summoning.’ \u003ccite>(Courtesy of: 'The Summoning')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb data-stringify-type=\"bold\">Into the Dark: The Summoning\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The San Francisco Mint, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 7–Nov. 5\u003c/em>\u003c/p>\n\u003cp>The official description for this drag-fueled, \u003ca href=\"https://www.youtube.com/watch?v=LLSQUyXWlkE&t=142s\" target=\"_blank\" rel=\"noopener noreferrer\">Peaches Christ\u003c/a>-starring haunted house experience is so magnificent, it bears repeating in its original form:\u003c/p>\n\u003cblockquote>\u003cp>Guests will participate in a real live seance that rips a hole into the supernatural world and takes them on a terrifying adventure! Prepare to come face-to-face with demonic spirits while you attempt to retrieve the severed head of an unethical vampire queen.\u003c/p>\u003c/blockquote>\n\u003cp>(Because presumably, unethical vampire queens are the worst kinds of vampire queens…)\u003c/p>\n\u003cp>Everything about \u003cem>The Summoning\u003c/em> promises to be extra-extra. Groups of 11 guests at a time will be guided through the experience, which will include (*deep breath*): nudity, gore, “4-D effects,” mazes, theatrical segments and a cast of 78. (\u003cem>Seventy-eight!\u003c/em>) Peaches and friends ask that you leave your high heels and Halloween masks at home, but feel free to grab a drink at the on-site ’80s goth pop-up bar afterwards. It’s called (*checks notes*) Fang Bang. Like I said: \u003cem>extra\u003c/em>-extra.\u003c/p>\n\u003cfigure id=\"attachment_13918788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918788\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-06-at-5.42.03-PM-800x435.png\" alt=\"The side view of a hunched over vulture perching ominously. Behind the bird, a cartoon rendition of a glowing yellow moon, orange sky and flying bats.\" width=\"800\" height=\"435\">\u003cfigcaption class=\"wp-caption-text\">Boo at the Zoo is coming for you… \u003ccite>(Courtesy of Oakland Zoo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Boo at the Zoo\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.oaklandzoo.org/centennial/events\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a> / \u003ca href=\"https://www.sfzoo.org/boo-at-the-zoo-featuring-sloth-oween/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Oct. 22–31 / Oct. 23–30\u003c/em>\u003c/p>\n\u003cp>Both Oakland and San Francisco are holding kid-thrilling Boo at the Zoo events this year.\u003c/p>\n\u003cp>Oakland Zoo is offering a fun-filled animal-themed scavenger hunt across its grounds. Costumes are encouraged; choosing to use the zoo’s collection of snakes, scorpions, spiders and other delightful creepy crawlies as inspiration is optional.\u003c/p>\n\u003cp>San Francisco Zoo is holding a costume parade and contest at noon on event days, and is also offering a self-guided, sloth-themed jaunt around a variety of haunted houses on the zoo’s grounds. Houses include “Count Dracu-sloth’s Fortress” and the “House of Franken-sloth.” Get ready to squee!\u003c/p>\n\u003cp>A heads up: Both of these events usually sell out fast, so families are encouraged to book in advance.\u003c/p>\n\u003cfigure id=\"attachment_13919010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/19-130-800x450.jpg\" alt=\"A teenage girl, green light glowing across her eyes, looks at something off in the distance with great horror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Winona Ryder in ‘Beetlejuice’.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener noreferrer\">Horror at the Alamo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Drafthouse, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 1–31\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13904911']Truth be told, the Alamo is never \u003cem>not\u003c/em> doing Halloween, thanks to Terror Tuesdays, Weird Wednesdays and a general commitment to digging up old horror movies and putting them back on the big screen. But while the Mission movie theater is always a reliable source of jump scares, it’s ramping up the horror content for the entire month of October.\u003c/p>\n\u003cp>You can expect classics, including \u003ca href=\"https://drafthouse.com/sf/show/psycho-1960\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psycho\u003c/em> on Oct. 24\u003c/a> and Werner Herzog’s 1979 remake of \u003ca href=\"https://drafthouse.com/sf/show/terror-tuesday-nosferatu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nosferatu\u003c/em>\u003c/a> on Oct. 18. (The 1922 vampire original is showing \u003ca href=\"https://drafthouse.com/sf/show/nosferatu-with-invincible-czars\" target=\"_blank\" rel=\"noopener noreferrer\">with a live score by Invincible Czars\u003c/a> on Sept. 21.) There is kitsch, including Andy Warhol’s \u003cem>Flesh For Frankenstein\u003c/em> on Oct. 5, \u003ca href=\"https://drafthouse.com/sf/show/bride-of-chucky1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bride of Chucky\u003c/em> on Oct. 10\u003c/a>, and a special Halloween-night screening of \u003cem>\u003ca href=\"https://drafthouse.com/sf/event/graveyard-shift-trick-r-treat\" target=\"_blank\" rel=\"noopener noreferrer\">Trick ’r Treat\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if parents need something that younger eyeballs can feast upon, look for \u003ca href=\"https://drafthouse.com/sf/event/movie-party-ghostbusters-1984\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ghostbusters\u003c/em> on Oct. 4\u003c/a> and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-beetlejuice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beetlejuice \u003c/em>on Oct. 12\u003c/a>—both of which will be full-blown parties. The \u003cem>Ghostbusters\u003c/em> one will include Slimer slime, Stay Puft marshmallows, and glow necklaces “you can wave around anytime the Ghostbusters use their proton packs.” May “\u003cem>I ain’t ’fraid o’ no ghost\u003c/em>” be your mantra for the evening.\u003c/p>\n\n",
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"title": "Your 2022 Guide to Halloween in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We know, we know. There’s too much to be done already. There’s a hay maze on the horizon and pumpkins to spend four hours picking out, only to carve them up into oblivion. There are costumes to plan and candy to buy and decorations to hang and your local neighborhood Spirit store to run amok in. But once all of that’s done, you have to actually pick some events to go to. Which is where this handy guide comes in.\u003c/p>\n\u003cp>There is something for everyone this year, whether you’re a screaming (drag) queen, a movie buff, a rock ’n’ roller, or a pet with a wardrobe. Altogether now! \u003cem>It’s creepy and it’s kooky / Mysterious and spooky / It’s all together ooky / Bay Area Halloween!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-800x485.png\" alt=\"A woman wearing a corset, knee high socks and rat-like face paint sits next to a figure in a black cloak and rat mask, holding a scythe.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-800x485.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-1020x619.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM-1536x931.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-1.16.43-PM.png 1814w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This year’s Halloween Meltdown will include a haunted house and a costume contest. Contestants—like these two from last year—are encouraged to get as weird as possible. \u003ccite>(Grant Kerber/ Halloween Meltdown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://halloweenmeltdown.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Halloween Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 8 and 9, 12–10pm\u003c/em>\u003c/p>\n\u003cp>Most people will come to the Halloween Meltdown for the music: sets from \u003ca href=\"https://www.kqed.org/arts/13916142/halloween-meltdown-line-up-mosswood-john-waters-amyl-shannon\" target=\"_blank\" rel=\"noopener noreferrer\">Amyl and the Sniffers, Lydia Lunch, Josie Cotton and many more\u003c/a>. But for a smaller, creepier bunch, the weekend will be all about the costume contest (there was a $500 prize last year!) and much-anticipated on-site haunted house. Artist and horror enthusiast \u003ca href=\"https://www.robfletcherisneat.com/aboutrobfletcherart\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Fletcher\u003c/a> has been meticulously designing the tented attraction for months.\u003c/p>\n\u003cp>“The Haunt is going to be a throwback to 1960s and ’70s-style dark carnival rides, but very much centered around trash culture,” Fletcher tells KQED Arts. “There will be gore. There will be vulgarity. There will be lobsters! If all goes according to plan, it should be total chaos.”\u003c/p>\n\u003cfigure id=\"attachment_13918547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-01-at-11.13.17-AM-800x536.png\" alt=\"A beautiful woman with long dark hair points at something on the horizon. To her side, a hunched over man with distorted features and bulging eyes.\" width=\"800\" height=\"536\">\u003cfigcaption class=\"wp-caption-text\">Patsy Ruth Miller and Lon Chaney star as Esmeralda and Quasimodo in 1923’s ‘The Hunchback of Notre Dame.’\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/the-hunchback-of-notre-dame/\" target=\"_blank\" rel=\"noopener noreferrer\">‘The Hunchback of Notre Dame’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Grace Cathedral, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 7:30pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You’d be hard pressed to find a better venue than Grace Cathedral for a screening of 1923’s \u003cem>Hunchback of Notre Dame\u003c/em>—save for the real life Parisian cathedral, of course. Everything about Wallace Worsley’s silent masterpiece is epic: its detailed replica of the real-life Notre-Dame, the thousands of extras used on set and, best of all, Lon Chaney bringing pathos (and not a little athleticism) to a monstrous visage.\u003c/p>\n\u003cp>As an \u003ca href=\"https://www.sfjazz.org/smartseat/?performanceNumber=15609#/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJazz presentation\u003c/a>, organist and composer \u003ca href=\"https://www.dorothypapadakos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Papadakos\u003c/a> will live score the horror classic. Papadakos has been passionate about using her musical prowess to bring old classics to life for years now, with previous presentations of \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> and \u003cem>Nosferatu\u003c/em>. Papadakos will even provide a brief history of the film before she takes her seat behind the 7,500-pipes of Grace’s 88-year-old Aeolian-Skinner organ.\u003c/p>\n\u003cfigure id=\"attachment_13918776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Unhinged_1280x960_2022-800x600.jpg\" alt=\"An artist's rendering of the Winchester Mystery House is depicted from above, with green light streaming from its many windows. A woman's green eyes hover above its roof. A clawed hand reaches up from underneath.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Unhinged_1280x960_2022.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Winchester Mystery House’s ‘Unhinged: Nightshades Curse’ event will blur the lines between fiction and reality within the wall’s of San Jose’s weirdest house. \u003ccite>(Courtesy of Winchester Mystery House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://winchestermysteryhouse.com/unhinged/\" target=\"_blank\" rel=\"noopener noreferrer\">Winchester Mystery House—Unhinged: Nightshades Curse\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Winchester Mystery House, San Jose\u003c/em>\u003cbr>\n\u003cem>Sept. 13—Oct. 31 (16 select dates)\u003c/em>\u003c/p>\n\u003cp>There’s plenty to be creeped out by in the Winchester Mystery House on any given day. The seance room full of one-way doors. The preponderance of the number 13 in the windows and decorative features. That damn door on the second floor that would send you plummeting to death or serious injury if you walked through it. But for Halloween, the Mystery House is ramping things up even further with 16 immersive evenings that step beyond the \u003ca href=\"https://en.wikipedia.org/wiki/Sarah_Winchester\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Winchester\u003c/a> legend.\u003c/p>\n\u003cp>The \u003cem>Nightshade’s Curse\u003c/em> event is set in 1949. A fictitious carnival owner and paranormal investigator named Madame Nightshade has temporarily taken over the property to ghost hunt within the house. Meanwhile, her small carnival has set up on the grounds to entertain guests with games and tricks, plus food offerings and a bar. There will be self-guided tours of the labyrinthian home throughout the evening, and not all routes will be the same. A word of warning before you go: Guests shouldn’t be surprised to run into a ghost or two…\u003c/p>\n\u003cfigure id=\"attachment_13918563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-1049883642-800x533.jpg\" alt=\"Two dogs sit side-by-side on an outdoor step. They are draped in sheets with eyes and nose holes cut out so they look like cartoon ghosts. They are surrounded by pumpkins.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">This is what Halloween is all about, people. Dogs dressed as ghosts. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sausalito.gov/departments/parks-and-recreation/events/halloween-sausalito\" target=\"_blank\" rel=\"noopener noreferrer\">Howl’O’Ween Dog Costume Contest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Robin Sweeny Park, Sausalito\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 6:30pm\u003c/em>\u003c/p>\n\u003cp>There are two things that we all absolutely, fundamentally deserve on Halloween. The first is candy. The second is dogs wearing costumes. That’s it. Everything else is incidental. (I said what I said.)\u003c/p>\n\u003cp>There’s a lot going on in Sausalito this Halloween for kids, grown-ups and pets. A parade starts at 6pm at the Station 1 Firehouse and ends at a special Trick or Treat Lane. The City Hall Game Room hosts a haunted house. But the most important thing of all is that the Howl’O’Ween Dog Costume Contest is happening. It’s free to enter and there are three prize categories: best little dog (under 35 lbs.), best big dog (over 35 lbs.) and best couple (human and dog). In all, perfect for those who like their Halloween to be more heartwarming than bone-chilling.\u003c/p>\n\u003cp>(And if you can’t wait that long to see dogs in outfits, you might also want to stop by the \u003ca href=\"https://www.eventbrite.com/e/paws-for-a-cause-dog-festival-halloween-costume-contest-tickets-349013196867\" target=\"_blank\" rel=\"noopener noreferrer\">Paws For a Cause Dog Festival and Halloween Costume Contest\u003c/a> at San Francisco’s Marina Green, Oct. 15, 11am–4pm.)\u003c/p>\n\u003cfigure id=\"attachment_13918779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-511722458-800x533.jpg\" alt=\"A stalking cap, handcuffs, magnifying glass, pipe, key and piece of rolled up paper lie on top of an old sepia-toned map.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-511722458-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Camron-Stanford House needs your assistance in solving a murder mystery… \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cshouse.org/visit\" target=\"_blank\" rel=\"noopener noreferrer\">Murder in Old Oakland: A Victorian Whodunit Game\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Camron-Stanford House, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 21, 7pm\u003c/em>\u003c/p>\n\u003cp>October is always a good time to visit the Camron-Stanford House. Every year, this Lake Merritt gem puts on its creepiest finery and gets into the Halloween spirit, Victorian-style. (Which, as we all know, is the scariest kind, on account of the Victorian obsession with trying to conjure dead people every five minutes.)\u003c/p>\n\u003cp>This year is no different. Camron-Stanford is offering a new exhibit, \u003cem>Ghoulish & Ghastly: 19th Century Monsters in Popular Culture\u003c/em> starting Oct. 2, as well as \u003ca href=\"https://www.cshouse.org/events/the-haunted-garden-2022\" target=\"_blank\" rel=\"noopener noreferrer\">the Haunted Garden\u003c/a>, an annual, family-friendly Halloween party on Oct. 30. In addition this year, amateur sleuths are invited to come to the house and help solve a murder in a \u003cem>Clue\u003c/em>-style game that encourages Victorian cosplay.\u003c/p>\n\u003cp>This Oct. 21 whodunit will begin in 1890 at a memorial reception for a recently murdered wealthy Oakland man. The evening’s hosts, Franklina and William will offer clues to help you catch the killer before they get the chance to strike again. Adding to the fun? The game includes characters based on real people from Oakland history, so everyone will learn a little something too.\u003c/p>\n\u003cfigure id=\"attachment_13918983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png\" alt=\"A conductor in action, arm flexed out before him, before a black background. He is wearing a casual black t-shirt, rather than a suit.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-09-at-1.54.12-PM.png 1994w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony’s music director Esa-Pekka Salonen, in action. \u003ccite>(Minna Hatinen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The SF Symphony Explores Myth, Magic and Horror\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley and Davies Symphony Hall, San Francisco \u003c/em>\u003cbr>\n\u003cem>Oct. 21–29, times vary\u003c/em>\u003c/p>\n\u003cp>SF Symphony’s Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a> is conducting special programs scattered throughout October that lean into themes of magic, myth and horror—and there are three distinct Halloween highlights.\u003c/p>\n\u003cp>The first is Modest Mussorgsky’s “\u003ca href=\"https://secure.calperformances.org/17600\" target=\"_blank\" rel=\"noopener noreferrer\">Night on Bald Mountain\u003c/a>” (Oct. 21) performed at Berkeley’s Zellerbach Hall. The plot includes witches, demons, serpents, dark spirits and even Satan himself. Then, back in San Francisco, Salonen leads three nights (Oct. 27–29) combining \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Frankenstein-Psycho\" target=\"_blank\" rel=\"noopener noreferrer\">H.K. Gruber’s \u003cem>Frankenstein!!\u003c/em> and Bernard Herrmann’s suite from \u003cem>Psycho\u003c/em>\u003c/a>. Finally, and for those who need something a little more kid-friendly, there’s \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hocus-Pocus\" target=\"_blank\" rel=\"noopener noreferrer\">a special presentation of \u003cem>Hocus Pocus\u003c/em>\u003c/a> on Oct. 25, with the symphony live scoring the proceedings.\u003c/p>\n\u003cp>Who says orchestras have to be stuffy?\u003c/p>\n\u003cfigure id=\"attachment_13917779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-800x534.png\" alt=\"A drag queen with exaggerated facial features stands in a cave-like setting wearing a black lace high-collared gown. Behind her are multiple mannequin torsos, one of which is wearing tassled pasties.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-17-at-5.15.41-PM.png 1838w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From the twisted brain of Peaches Christ (and friends): ‘Into the Dark: The Summoning.’ \u003ccite>(Courtesy of: 'The Summoning')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.intothedarksf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb data-stringify-type=\"bold\">Into the Dark: The Summoning\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The San Francisco Mint, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 7–Nov. 5\u003c/em>\u003c/p>\n\u003cp>The official description for this drag-fueled, \u003ca href=\"https://www.youtube.com/watch?v=LLSQUyXWlkE&t=142s\" target=\"_blank\" rel=\"noopener noreferrer\">Peaches Christ\u003c/a>-starring haunted house experience is so magnificent, it bears repeating in its original form:\u003c/p>\n\u003cblockquote>\u003cp>Guests will participate in a real live seance that rips a hole into the supernatural world and takes them on a terrifying adventure! Prepare to come face-to-face with demonic spirits while you attempt to retrieve the severed head of an unethical vampire queen.\u003c/p>\u003c/blockquote>\n\u003cp>(Because presumably, unethical vampire queens are the worst kinds of vampire queens…)\u003c/p>\n\u003cp>Everything about \u003cem>The Summoning\u003c/em> promises to be extra-extra. Groups of 11 guests at a time will be guided through the experience, which will include (*deep breath*): nudity, gore, “4-D effects,” mazes, theatrical segments and a cast of 78. (\u003cem>Seventy-eight!\u003c/em>) Peaches and friends ask that you leave your high heels and Halloween masks at home, but feel free to grab a drink at the on-site ’80s goth pop-up bar afterwards. It’s called (*checks notes*) Fang Bang. Like I said: \u003cem>extra\u003c/em>-extra.\u003c/p>\n\u003cfigure id=\"attachment_13918788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918788\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-06-at-5.42.03-PM-800x435.png\" alt=\"The side view of a hunched over vulture perching ominously. Behind the bird, a cartoon rendition of a glowing yellow moon, orange sky and flying bats.\" width=\"800\" height=\"435\">\u003cfigcaption class=\"wp-caption-text\">Boo at the Zoo is coming for you… \u003ccite>(Courtesy of Oakland Zoo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Boo at the Zoo\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.oaklandzoo.org/centennial/events\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a> / \u003ca href=\"https://www.sfzoo.org/boo-at-the-zoo-featuring-sloth-oween/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003c/em>\u003cbr>\n\u003cem>Oct. 22–31 / Oct. 23–30\u003c/em>\u003c/p>\n\u003cp>Both Oakland and San Francisco are holding kid-thrilling Boo at the Zoo events this year.\u003c/p>\n\u003cp>Oakland Zoo is offering a fun-filled animal-themed scavenger hunt across its grounds. Costumes are encouraged; choosing to use the zoo’s collection of snakes, scorpions, spiders and other delightful creepy crawlies as inspiration is optional.\u003c/p>\n\u003cp>San Francisco Zoo is holding a costume parade and contest at noon on event days, and is also offering a self-guided, sloth-themed jaunt around a variety of haunted houses on the zoo’s grounds. Houses include “Count Dracu-sloth’s Fortress” and the “House of Franken-sloth.” Get ready to squee!\u003c/p>\n\u003cp>A heads up: Both of these events usually sell out fast, so families are encouraged to book in advance.\u003c/p>\n\u003cfigure id=\"attachment_13919010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/19-130-800x450.jpg\" alt=\"A teenage girl, green light glowing across her eyes, looks at something off in the distance with great horror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/19-130.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Winona Ryder in ‘Beetlejuice’.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener noreferrer\">Horror at the Alamo\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Drafthouse, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 1–31\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Truth be told, the Alamo is never \u003cem>not\u003c/em> doing Halloween, thanks to Terror Tuesdays, Weird Wednesdays and a general commitment to digging up old horror movies and putting them back on the big screen. But while the Mission movie theater is always a reliable source of jump scares, it’s ramping up the horror content for the entire month of October.\u003c/p>\n\u003cp>You can expect classics, including \u003ca href=\"https://drafthouse.com/sf/show/psycho-1960\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psycho\u003c/em> on Oct. 24\u003c/a> and Werner Herzog’s 1979 remake of \u003ca href=\"https://drafthouse.com/sf/show/terror-tuesday-nosferatu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nosferatu\u003c/em>\u003c/a> on Oct. 18. (The 1922 vampire original is showing \u003ca href=\"https://drafthouse.com/sf/show/nosferatu-with-invincible-czars\" target=\"_blank\" rel=\"noopener noreferrer\">with a live score by Invincible Czars\u003c/a> on Sept. 21.) There is kitsch, including Andy Warhol’s \u003cem>Flesh For Frankenstein\u003c/em> on Oct. 5, \u003ca href=\"https://drafthouse.com/sf/show/bride-of-chucky1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bride of Chucky\u003c/em> on Oct. 10\u003c/a>, and a special Halloween-night screening of \u003cem>\u003ca href=\"https://drafthouse.com/sf/event/graveyard-shift-trick-r-treat\" target=\"_blank\" rel=\"noopener noreferrer\">Trick ’r Treat\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if parents need something that younger eyeballs can feast upon, look for \u003ca href=\"https://drafthouse.com/sf/event/movie-party-ghostbusters-1984\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ghostbusters\u003c/em> on Oct. 4\u003c/a> and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-beetlejuice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beetlejuice \u003c/em>on Oct. 12\u003c/a>—both of which will be full-blown parties. The \u003cem>Ghostbusters\u003c/em> one will include Slimer slime, Stay Puft marshmallows, and glow necklaces “you can wave around anytime the Ghostbusters use their proton packs.” May “\u003cem>I ain’t ’fraid o’ no ghost\u003c/em>” be your mantra for the evening.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "See Grace Cathedral With Fresh Eyes on New Self-Guided Tour",
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"content": "\u003cp>Let’s get this out of the way first: Grace Cathedral has \u003ca href=\"https://gracecathedral.org/plan-your-visit/\" rel=\"noopener noreferrer\" target=\"_blank\">introduced an entrance fee\u003c/a>. It doesn’t apply to those attending services, individuals looking for a place to pray, or children aged 11 and under. But entering the cathedral as a tourist will now set you back $10-$12, depending on your age. \u003c/p>\n\u003cp>The good news is that, giving you more bang for your buck, Grace has installed a 12-stop electronic tour guide to the cathedral’s art, history and architecture. Docent-led tours are still available once a day (priced $18-$20), but the self-guided tour offers something to folks just casually dropping in.\u003c/p>\n\u003cp>[aside postID='arts_10957761']I recently took myself around the loop of interactive screens, and honestly? The tour felt worth the fee. The abundance of facts shared about the cathedral will surprise most casual visitors, and delight any and all history nerds.\u003c/p>\n\u003cp>Here are just five nuggets I found out on the tour:\u003c/p>\n\u003cul>\n\u003cli>The Keith Haring altarpiece in the AIDS Memorial Chapel was a gift from Yoko Ono.\u003cbr>\nThurgood Marshall is depicted in one of the cathedral’s stained glass windows.\u003c/li>\n\u003cli>After the 1906 earthquake, rector David J. Evans rescued holy objects from the burning Grace Church (then located at Stockton and California). Some of those relics are still used in Grace Cathedral services and communions today.\u003c/li>\n\u003cli>In 1934, Ansel Adams was hired by Grace’s lead architect Lewis Hobart to take a series of portraits of the cathedral. Three of those photographs are currently on display, donated by Hobart’s son.\u003c/li>\n\u003cli>The glowing ladder installation that’s been in the cathedral since 2016 was co-created by Jim Campbell—the same artist responsible for turning the top of the Salesforce Tower into an LED display.\u003c/li>\n\u003c/ul>\n\u003cp>I’m barely even scratching the surface here.\u003c/p>\n\u003cfigure id=\"attachment_13911245\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg\" alt=\"A stained glass window of Jesus and the Woman from Samaria sits behind and above 'Coffer'—a wood chip sculpture by Californian artist Richard Faralla. \" width=\"640\" height=\"865\" class=\"size-large wp-image-13911245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-800x1082.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1136x1536.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1515x2048.jpg 1515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1920x2596.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-scaled.jpg 1893w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A stained glass window of Jesus and the Woman from Samaria sits behind and above ‘Coffer’—a wood chip sculpture by Californian artist Richard Faralla. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether or not you think it’s right to charge people to enter religious buildings is entirely up to you. Some cathedrals—like Notre Dame or the Sacré-Cœur in Paris—don’t charge a dime. Others have no qualms about taking your lunch money—like London’s St. Paul’s (£16-£18), or Duomo Cathedral in Milan (€2-€17).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For me, what it boils down to is this: Grace Cathedral is a beautiful building that serves as a fascinating portal into San Francisco history. But it’s also a modern space where interfaith principles and progressive ideals comfortably commingle. This institution’s ability to gaze into—and honor—the past, while keeping one eye squarely on the here and now, is hard to put a price on. Think about it that way, and $12 doesn’t seem unreasonable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://gracecathedral.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Cathedral\u003c/a> is open to visitors Monday through Saturday, 10am-5pm. A calendar of \u003ca href=\"https://gracecathedral.org/service-times/\" target=\"_blank\" rel=\"noopener noreferrer\">services\u003c/a> and \u003ca href=\"https://gracecathedral.org/calendar-events/\" target=\"_blank\" rel=\"noopener noreferrer\">special events\u003c/a> can be found at the Grace Cathedral website.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way first: Grace Cathedral has \u003ca href=\"https://gracecathedral.org/plan-your-visit/\" rel=\"noopener noreferrer\" target=\"_blank\">introduced an entrance fee\u003c/a>. It doesn’t apply to those attending services, individuals looking for a place to pray, or children aged 11 and under. But entering the cathedral as a tourist will now set you back $10-$12, depending on your age. \u003c/p>\n\u003cp>The good news is that, giving you more bang for your buck, Grace has installed a 12-stop electronic tour guide to the cathedral’s art, history and architecture. Docent-led tours are still available once a day (priced $18-$20), but the self-guided tour offers something to folks just casually dropping in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I recently took myself around the loop of interactive screens, and honestly? The tour felt worth the fee. The abundance of facts shared about the cathedral will surprise most casual visitors, and delight any and all history nerds.\u003c/p>\n\u003cp>Here are just five nuggets I found out on the tour:\u003c/p>\n\u003cul>\n\u003cli>The Keith Haring altarpiece in the AIDS Memorial Chapel was a gift from Yoko Ono.\u003cbr>\nThurgood Marshall is depicted in one of the cathedral’s stained glass windows.\u003c/li>\n\u003cli>After the 1906 earthquake, rector David J. Evans rescued holy objects from the burning Grace Church (then located at Stockton and California). Some of those relics are still used in Grace Cathedral services and communions today.\u003c/li>\n\u003cli>In 1934, Ansel Adams was hired by Grace’s lead architect Lewis Hobart to take a series of portraits of the cathedral. Three of those photographs are currently on display, donated by Hobart’s son.\u003c/li>\n\u003cli>The glowing ladder installation that’s been in the cathedral since 2016 was co-created by Jim Campbell—the same artist responsible for turning the top of the Salesforce Tower into an LED display.\u003c/li>\n\u003c/ul>\n\u003cp>I’m barely even scratching the surface here.\u003c/p>\n\u003cfigure id=\"attachment_13911245\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg\" alt=\"A stained glass window of Jesus and the Woman from Samaria sits behind and above 'Coffer'—a wood chip sculpture by Californian artist Richard Faralla. \" width=\"640\" height=\"865\" class=\"size-large wp-image-13911245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1020x1379.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-800x1082.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1136x1536.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1515x2048.jpg 1515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-1920x2596.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220328_173737-scaled.jpg 1893w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A stained glass window of Jesus and the Woman from Samaria sits behind and above ‘Coffer’—a wood chip sculpture by Californian artist Richard Faralla. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether or not you think it’s right to charge people to enter religious buildings is entirely up to you. Some cathedrals—like Notre Dame or the Sacré-Cœur in Paris—don’t charge a dime. Others have no qualms about taking your lunch money—like London’s St. Paul’s (£16-£18), or Duomo Cathedral in Milan (€2-€17).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For me, what it boils down to is this: Grace Cathedral is a beautiful building that serves as a fascinating portal into San Francisco history. But it’s also a modern space where interfaith principles and progressive ideals comfortably commingle. This institution’s ability to gaze into—and honor—the past, while keeping one eye squarely on the here and now, is hard to put a price on. Think about it that way, and $12 doesn’t seem unreasonable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://gracecathedral.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Cathedral\u003c/a> is open to visitors Monday through Saturday, 10am-5pm. A calendar of \u003ca href=\"https://gracecathedral.org/service-times/\" target=\"_blank\" rel=\"noopener noreferrer\">services\u003c/a> and \u003ca href=\"https://gracecathedral.org/calendar-events/\" target=\"_blank\" rel=\"noopener noreferrer\">special events\u003c/a> can be found at the Grace Cathedral website.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=62&v=E5LU4xBJDwU&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when you take the resplendent stillness of Grace Cathedral and fill every corner of it with contemporary dancers?\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfmaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Movement Arts Festival\u003c/a> has been answering that question for six years now; it returns this January with over 300 dancers and performers. An unconventionally arranged array of disciplines will be on display in every corner of the cathedral, including ballet, contemporary and aerial. A live soundtrack promises to enhance the displays.\u003c/p>\n\u003cp>With 90 percent of scheduled performers being Bay Area-based (others hail from Texas, Arizona, New York and Southern California), the festival also offers a compact glimpse into local dance talent and trends, as well as showcasing rising stars in the community.\u003c/p>\n\u003cp>Take a stroll through last summer’s event in the video below. \u003cem>–Rae Alexandra\u003c/em>\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/E5LU4xBJDwU'\n title='//www.youtube.com/embed/E5LU4xBJDwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.merriam-webster.com/words-at-play/halloween-origin-spelling\" rel=\"noopener\" target=\"_blank\">Hallowe’en\u003c/a> has evolved significantly from its religious and psychological roots to the point where it’s a children’s holiday in danger of being usurped by adults. This year, on Oct. 31, \u003ca href=\"https://www.sfjazz.org/calendar/?month=10.2019&series=25223\" rel=\"noopener\" target=\"_blank\">SFJAZZ\u003c/a> offers a spiked treat for each demographic with back-to-back screenings of silent-era classics at Grace Cathedral. \u003c/p>\n\u003cp>As both \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (1920), John Barrymore effectively evokes Robert Louis Stevenson’s chilling cautions about human nature and scientific meddling. (So much for better living through chemistry.) Then Max Schreck—who some believe still stalks the planet after dark—devours the cast and the scenery in F.W. Murnau’s deeply disturbing vampire epic \u003cem>Nosferatu\u003c/em> (1922). Dorothy Papadakos masterfully wrings every iota of dread and soulless destruction from Grace’s massive pipe organ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13868994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-800x338.jpg\" alt=\"'Dr. Jekyll & Mr. Hyde' screens at Grace Cathedral with a live organ score. \" width=\"800\" height=\"338\" class=\"size-medium wp-image-13868994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-1200x506.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dr. Jekyll & Mr. Hyde’ screens at Grace Cathedral with a live organ score. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reality is plenty scary for many of us, yet SFFILM’s annual \u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\" rel=\"noopener\" target=\"_blank\">Doc Stories\u003c/a> series (Nov. 1-4 at the Vogue and Castro Theatres) typically steers clear of social-issue documentaries. Artists command the spotlight this year, with the weekend bookended by \u003cem>The Apollo\u003c/em>, Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture, and \u003cem>Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese\u003c/em> (with the director on hand). \u003c/p>\n\u003cp>Alla Kovgan’s ambitious \u003cem>Cunningham\u003c/em> interweaves the saga of the brilliant dancer and choreographer Merce Cunningham with stunning sequences of his dances performed for the camera. (It returns Jan. 3 for a theatrical engagement in San Francisco and Berkeley, if you miss it this weekend.)\u003c/p>\n\u003cp>Doc Stories also salutes Julia Reichert, the gutsy pioneer of U.S. political nonfiction, with a rare showing of her 1971 debut, \u003cem>Growing Up Female\u003c/em>. Another icon, UK filmmaker Kim Longinotto, turns her camera on Sicilian photojournalist Litizia Battaglia (\u003cem>Shooting the Mafia\u003c/em>), while Lauren Greenfield’s latest expose of conspicuous consumption, \u003cem>The Kingmaker\u003c/em>, focuses on Filipino fashion icon and legend in her own mind Imelda Marcos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, Ric Burns’ \u003cem>Oliver Sacks: His Own Life\u003c/em> is a long-overdue portrait of the influential neurologist and writer who—among his many significant accomplishments—will forever be linked (in my mind, at least) with the late Robin Williams. \u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.merriam-webster.com/words-at-play/halloween-origin-spelling\" rel=\"noopener\" target=\"_blank\">Hallowe’en\u003c/a> has evolved significantly from its religious and psychological roots to the point where it’s a children’s holiday in danger of being usurped by adults. This year, on Oct. 31, \u003ca href=\"https://www.sfjazz.org/calendar/?month=10.2019&series=25223\" rel=\"noopener\" target=\"_blank\">SFJAZZ\u003c/a> offers a spiked treat for each demographic with back-to-back screenings of silent-era classics at Grace Cathedral. \u003c/p>\n\u003cp>As both \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (1920), John Barrymore effectively evokes Robert Louis Stevenson’s chilling cautions about human nature and scientific meddling. (So much for better living through chemistry.) Then Max Schreck—who some believe still stalks the planet after dark—devours the cast and the scenery in F.W. Murnau’s deeply disturbing vampire epic \u003cem>Nosferatu\u003c/em> (1922). Dorothy Papadakos masterfully wrings every iota of dread and soulless destruction from Grace’s massive pipe organ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13868994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-800x338.jpg\" alt=\"'Dr. Jekyll & Mr. Hyde' screens at Grace Cathedral with a live organ score. \" width=\"800\" height=\"338\" class=\"size-medium wp-image-13868994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde-1200x506.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SFJAZZ-Dr.-Jekyll-Mr.-Hyde.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Dr. Jekyll & Mr. Hyde’ screens at Grace Cathedral with a live organ score. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reality is plenty scary for many of us, yet SFFILM’s annual \u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\" rel=\"noopener\" target=\"_blank\">Doc Stories\u003c/a> series (Nov. 1-4 at the Vogue and Castro Theatres) typically steers clear of social-issue documentaries. Artists command the spotlight this year, with the weekend bookended by \u003cem>The Apollo\u003c/em>, Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture, and \u003cem>Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese\u003c/em> (with the director on hand). \u003c/p>\n\u003cp>Alla Kovgan’s ambitious \u003cem>Cunningham\u003c/em> interweaves the saga of the brilliant dancer and choreographer Merce Cunningham with stunning sequences of his dances performed for the camera. (It returns Jan. 3 for a theatrical engagement in San Francisco and Berkeley, if you miss it this weekend.)\u003c/p>\n\u003cp>Doc Stories also salutes Julia Reichert, the gutsy pioneer of U.S. political nonfiction, with a rare showing of her 1971 debut, \u003cem>Growing Up Female\u003c/em>. Another icon, UK filmmaker Kim Longinotto, turns her camera on Sicilian photojournalist Litizia Battaglia (\u003cem>Shooting the Mafia\u003c/em>), while Lauren Greenfield’s latest expose of conspicuous consumption, \u003cem>The Kingmaker\u003c/em>, focuses on Filipino fashion icon and legend in her own mind Imelda Marcos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-path-of-miracles-leading-to-grace-cathedral",
"title": "A Path of Miracles Leading to Grace Cathedral",
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"headTitle": "A Path of Miracles Leading to Grace Cathedral | KQED",
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"content": "\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joby Talbot’s gorgeous choral work \u003cem>Path of Miracles \u003c/em>(2005) is about the Camino de Santiago, the pilgrimage route in Northern Spain dating back to medieval times. Some friends of ODC/Dance Co-Director KT Nelson introduced her to Talbot’s work a few years ago, and Nelson walked the route with her husband. Now she’s set a dance about her experiences to the music. \u003c/p>\n\u003cp>“And I am not religious,” Nelson told me before a rehearsal a few days ago. “But having taken the pilgrimage I got a sense of what the score meant.” \u003c/p>\n\u003cp>Nelson says her work traces the emotional stages that most pilgrims experience. “The first movement is about enthusiasm,” she says. “The second movement is hitting a wall emotionally. The third movement is about acts of kindness, and the fourth is a celebration of finishing and connecting with the community of other pilgrims.”\u003c/p>\n\u003cfigure id=\"attachment_13823371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823371\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg\" alt=\"ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC Co-Director KT Nelson directs dancers in a rehearsal of Nelson‘s new work ‘Path of Miracles \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acts of kindness were like subtle miracles. “Somewhere, out of nowhere, someone would help you find a place to stay, or bandage your foot, or tell you where to go to eat,” Nelson says. “And when you’re in the middle of nowhere, and you don’t speak the language, that is pretty wonderful.”\u003c/p>\n\u003cp>The choral group Volti, led by Robert Geary, will sing \u003cem>Path of Miracles\u003c/em> for the two performances of Nelson’s new work at Grace Cathedral on Feb. 9 and 10. Details \u003ca href=\"https://www.odc.dance/Miracles\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And ODC Presents it’s home season at the Yerba Buena Center for the Arts March 15-18. Details \u003ca href=\"https://www.odc.dance/news\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13823365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg\" alt=\"Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson's Path of Miracles\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny.-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ODC-Path-of-Miracles-3-Jeremy-Bannon-Neches-and-Natasha-Adorlee-Johnson-in-rehearsal-for-KT-Nelsons-Path-of-Miracles-which-runs-February-9-10-at-Grace-Cathedral.-Photo-by-Robbie-Sweeny..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Bannon-Neches and Natasha Adorlee Johnson in rehearsal for KT Nelson’s Path of Miracles \u003ccite>(Photo: Robbie Sweeney/ODC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "SF Gay Men's Chorus Ups Security for Southern States Tour",
"headTitle": "SF Gay Men’s Chorus Ups Security for Southern States Tour | KQED",
"content": "\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/09/VeltmanGayMensChorus.mp3\" /]\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\n\u003cp>https://twitter.com/ryburke/status/907962985590685696\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Lavender Pen Tour happens Sunday, Oct. 8 though Saturday, Oct. 14 in cities across Alabama, Mississippi, North Carolina, Florida and Tennessee. \u003c/em>\u003c/p>\n\u003cp>\u003cem>There will be a send-off concert on Saturday, Sept. 30 at Grace Cathedral in San Francisco. Tickets and information \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=9449\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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