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"title": "'Girls of the Golden West' is Nothing Like Your High School History Book",
"headTitle": "‘Girls of the Golden West’ is Nothing Like Your High School History Book | KQED",
"content": "\u003cp>School history books and Western movies typically portray the California Gold Rush as a time when white pioneers ventured west to a lawless and near-desolate land, to strike it rich. But accounts from the period portray a much more complicated society — one where different ethnic groups mingled and often clashed; where gender roles slowly began to shift away from Old World conventions.\u003c/p>\n\u003cp>With \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera’s\u003c/a> \u003cem>Girls of the Golden West\u003c/em>, composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> and librettist-director Peter Sellars give a much more nuanced take on this historical period. The new opera, which had its world premiere last night on Nov. 21 and runs through Dec. 10, centers on the tales of three women from radically different backgrounds — an East Coast dame, a Mexican waitress, and a Chinese sex worker — and one man, an escaped slave.\u003c/p>\n\u003cp>Adams and Sellars cobbled these stories together from poems, letters, diaries, and literature from the period that represented a cross-section of voices: famous ones like Frederick Douglass, Mark Twain, and Alfonsina Storni as well as lesser-known miners, runaway slaves, Chinese railroad workers, and white settlers.\u003c/p>\n\u003cfigure id=\"attachment_13815655\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-800x1133.jpg\" alt=\"Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame Shirley, a well-off doctor’s wife who settles in the mining camp Rich Bar, is a witty and insightful narrator who holds together the complicated, overlapping storylines of \u003cem>Girls of the Golden West\u003c/em>. Soprano Julia Bullock is humorous and campy as Shirley in the first act, when her rich-lady sensibilities clash with the harsh realities of the camp. But she also brings about some of the most emotionally poignant moments in the second act, when white settlers, restless and angry from their Gold Rush dreams not panning out, begin an onslaught of racist attacks on other residents of the area.\u003c/p>\n\u003cp>Shirley’s character was based on the real-life physician’s wife Louise Amelia Clappe, whose 1851-52 letters, published as \u003cem>The Shirley Papers\u003c/em>, informed much of Sellars’ libretto. As Shirley, Bullock provides many of the historical details that make the opera feel real in lieu of props or complicated set design, and her crystalline voice is one of the most beautiful of the production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bass-baritone Davóne Tines’ Ned Peters, a runaway slave who becomes friends with Dame Shirley on her journey — and yes, there are some hints of flirtation between the two — delivers another one of the most compelling moments in \u003cem>Girls of the Golden West\u003c/em>. When drunken, rowdy white miners revel in a sinister 4th of July celebration that reeks of racism, he delivers a passionate speech based on Frederick Douglass’ “What to a slave is the 4th of July?,” echoing questions of freedom and racial inequality that are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13815656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-800x534.jpg\" alt=\"Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Girls of the Golden West\u003c/em> isn’t heavy-handed in its political messaging, it’s hard not to draw parallels between these violent, torch-bearing miners and the mobs of white supremacists we’ve seen at recent events like Charlottesville. Motivated by a lethal cocktail of racism and economic insecurity, miners who failed to strike it rich in the Gold Rush take their anger out on Latino, Asian, black, and Native people in the area, culminating in brutal attacks.\u003c/p>\n\u003cp>Much like it does in the real world, the white settlers’ racism merges with sexism in several of \u003cem>Girls of the Golden West\u003c/em>’s most dramatic plot points, as when they harass Chinese sex worker Ah Sing (played by soprano Hye Jung Lee), or when they lynch waitress Josefa Segovia (mezzo-soprano J’Nai Bridges), who kills a man in self-defense.\u003c/p>\n\u003cp>The opera doesn’t sugarcoat these traumatic and unjust happenings, but it also leaves room for the women to speak their piece. Ah Sing, who sings about being sold into sex slavery at 10 years old but takes a certain level of pride in her business acumen as an adult, has a rich, complicated backstory. And Segovia, based on a real-life woman who was hanged over the Yuba River, displays simultaneous grit and tenderness in her journey of love and survival.\u003c/p>\n\u003cfigure id=\"attachment_13815657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-800x537.jpg\" alt=\"Hye Jung Lee as Ah Sing in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hye Jung Lee as Ah Sing in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These characters give \u003cem>Girls of the Golden West\u003c/em> its depth, but Sellars could have taken the opera up another notch by including stories from indigenous people from the area. Native Americans are only mentioned twice in passing — once when Dame Shirley describes Native women in a racist, insulting way, and another instance in reference to a massacre. Surely there are Native people from history whose stories could have been incorporated into the opera as skillfully as the others.\u003c/p>\n\u003cp>In terms of casting, San Francisco Opera has done an admirable job featuring young, diverse, stand-out talent. None of the actors are big names yet, but they’re being heralded as rising stars — especially \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-artistry-of-the-soprano-julia-bullock\" target=\"_blank\" rel=\"noopener\">Bullock\u003c/a> and \u003ca href=\"http://beta.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">Tines\u003c/a>. It was an admirable and surprising choice for Adams cast Bullock, who is African American, as Shirley, a white woman, especially given the preponderance of white actors in brownface in Western movies and the biases that exist in Hollywood (and opera) casting today.\u003c/p>\n\u003cp>\u003cem>Girls of the Golden West\u003c/em> is a fictionalized account, but even so, Sellars and Adams are opening up a timely dialogue about our state history that helps us better understand the present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>School history books and Western movies typically portray the California Gold Rush as a time when white pioneers ventured west to a lawless and near-desolate land, to strike it rich. But accounts from the period portray a much more complicated society — one where different ethnic groups mingled and often clashed; where gender roles slowly began to shift away from Old World conventions.\u003c/p>\n\u003cp>With \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera’s\u003c/a> \u003cem>Girls of the Golden West\u003c/em>, composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> and librettist-director Peter Sellars give a much more nuanced take on this historical period. The new opera, which had its world premiere last night on Nov. 21 and runs through Dec. 10, centers on the tales of three women from radically different backgrounds — an East Coast dame, a Mexican waitress, and a Chinese sex worker — and one man, an escaped slave.\u003c/p>\n\u003cp>Adams and Sellars cobbled these stories together from poems, letters, diaries, and literature from the period that represented a cross-section of voices: famous ones like Frederick Douglass, Mark Twain, and Alfonsina Storni as well as lesser-known miners, runaway slaves, Chinese railroad workers, and white settlers.\u003c/p>\n\u003cfigure id=\"attachment_13815655\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-800x1133.jpg\" alt=\"Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame Shirley, a well-off doctor’s wife who settles in the mining camp Rich Bar, is a witty and insightful narrator who holds together the complicated, overlapping storylines of \u003cem>Girls of the Golden West\u003c/em>. Soprano Julia Bullock is humorous and campy as Shirley in the first act, when her rich-lady sensibilities clash with the harsh realities of the camp. But she also brings about some of the most emotionally poignant moments in the second act, when white settlers, restless and angry from their Gold Rush dreams not panning out, begin an onslaught of racist attacks on other residents of the area.\u003c/p>\n\u003cp>Shirley’s character was based on the real-life physician’s wife Louise Amelia Clappe, whose 1851-52 letters, published as \u003cem>The Shirley Papers\u003c/em>, informed much of Sellars’ libretto. As Shirley, Bullock provides many of the historical details that make the opera feel real in lieu of props or complicated set design, and her crystalline voice is one of the most beautiful of the production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bass-baritone Davóne Tines’ Ned Peters, a runaway slave who becomes friends with Dame Shirley on her journey — and yes, there are some hints of flirtation between the two — delivers another one of the most compelling moments in \u003cem>Girls of the Golden West\u003c/em>. When drunken, rowdy white miners revel in a sinister 4th of July celebration that reeks of racism, he delivers a passionate speech based on Frederick Douglass’ “What to a slave is the 4th of July?,” echoing questions of freedom and racial inequality that are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13815656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-800x534.jpg\" alt=\"Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Girls of the Golden West\u003c/em> isn’t heavy-handed in its political messaging, it’s hard not to draw parallels between these violent, torch-bearing miners and the mobs of white supremacists we’ve seen at recent events like Charlottesville. Motivated by a lethal cocktail of racism and economic insecurity, miners who failed to strike it rich in the Gold Rush take their anger out on Latino, Asian, black, and Native people in the area, culminating in brutal attacks.\u003c/p>\n\u003cp>Much like it does in the real world, the white settlers’ racism merges with sexism in several of \u003cem>Girls of the Golden West\u003c/em>’s most dramatic plot points, as when they harass Chinese sex worker Ah Sing (played by soprano Hye Jung Lee), or when they lynch waitress Josefa Segovia (mezzo-soprano J’Nai Bridges), who kills a man in self-defense.\u003c/p>\n\u003cp>The opera doesn’t sugarcoat these traumatic and unjust happenings, but it also leaves room for the women to speak their piece. Ah Sing, who sings about being sold into sex slavery at 10 years old but takes a certain level of pride in her business acumen as an adult, has a rich, complicated backstory. And Segovia, based on a real-life woman who was hanged over the Yuba River, displays simultaneous grit and tenderness in her journey of love and survival.\u003c/p>\n\u003cfigure id=\"attachment_13815657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-800x537.jpg\" alt=\"Hye Jung Lee as Ah Sing in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hye Jung Lee as Ah Sing in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These characters give \u003cem>Girls of the Golden West\u003c/em> its depth, but Sellars could have taken the opera up another notch by including stories from indigenous people from the area. Native Americans are only mentioned twice in passing — once when Dame Shirley describes Native women in a racist, insulting way, and another instance in reference to a massacre. Surely there are Native people from history whose stories could have been incorporated into the opera as skillfully as the others.\u003c/p>\n\u003cp>In terms of casting, San Francisco Opera has done an admirable job featuring young, diverse, stand-out talent. None of the actors are big names yet, but they’re being heralded as rising stars — especially \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-artistry-of-the-soprano-julia-bullock\" target=\"_blank\" rel=\"noopener\">Bullock\u003c/a> and \u003ca href=\"http://beta.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">Tines\u003c/a>. It was an admirable and surprising choice for Adams cast Bullock, who is African American, as Shirley, a white woman, especially given the preponderance of white actors in brownface in Western movies and the biases that exist in Hollywood (and opera) casting today.\u003c/p>\n\u003cp>\u003cem>Girls of the Golden West\u003c/em> is a fictionalized account, but even so, Sellars and Adams are opening up a timely dialogue about our state history that helps us better understand the present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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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"content": "\u003cp>We welcome back as our co-host Jamedra Brown Fleischman, also a co-host on KQED’s The Cooler podcast. She and I indulged our love for circus, and she located some of the skating rinks popping up around the Bay Area for the holidays. Plus we debate the merits of \u003cem>Aladdin the Musical\u003c/em> and the revisionist gold rush opera \u003cem>Girls of the Golden West\u003c/em>. Strap on your skates, it’s going to be a smooth ride.\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXVy\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunday Skool\u003c/em> mixes burlesque, circus and terrific music\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Dec. 17:\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\">Kinetic Arts circus school in West Oakland mounts another homemade holiday show with world class acrobatics.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17-19\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXVQ\" target=\"_blank\" rel=\"noopener\">The San Francisco International Hip Hop DanceFest returns.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXW5\">\u003cem>Aladdin\u003c/em> surprises Jamedra with its humor and glitz\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 21-Dec. 10: \u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXWi\" target=\"_blank\" rel=\"noopener\">A people’s history of the gold rush at San Francisco Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18-19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/15/songs-of-longing-from-kishi-bashi/\" target=\"_blank\" rel=\"noopener\">Kishi Bashi sings songs full of a longing for connection\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17\u003c/strong>:\u003ca href=\"http://piedmontpiano.com/concerts/171117queenesthermarrow.html\" target=\"_blank\" rel=\"noopener\"> Gospel great Queen Esther Marrow visits Piedmont Piano\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 18: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-claremont\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at Berkeley Library’s Claremont Branch\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19: \u003c/strong>\u003ca href=\"https://www.berkeleypubliclibrary.org/events/hamilton-sing-along-thps\" target=\"_blank\" rel=\"noopener\">Hamiltunes singalong at the Berkeley Library’s Tarea Hall Pittman branch \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We welcome back as our co-host Jamedra Brown Fleischman, also a co-host on KQED’s The Cooler podcast. She and I indulged our love for circus, and she located some of the skating rinks popping up around the Bay Area for the holidays. Plus we debate the merits of \u003cem>Aladdin the Musical\u003c/em> and the revisionist gold rush opera \u003cem>Girls of the Golden West\u003c/em>. Strap on your skates, it’s going to be a smooth ride.\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXVy\" target=\"_blank\" rel=\"noopener\">\u003cem>Sunday Skool\u003c/em> mixes burlesque, circus and terrific music\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Dec. 17:\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXVE\" target=\"_blank\" rel=\"noopener\">Kinetic Arts circus school in West Oakland mounts another homemade holiday show with world class acrobatics.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 17-19\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXVQ\" target=\"_blank\" rel=\"noopener\">The San Francisco International Hip Hop DanceFest returns.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VXW5\">\u003cem>Aladdin\u003c/em> surprises Jamedra with its humor and glitz\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Do List's picks this week include Billy Bragg, Myra Melford, some twins on the feminist barricades, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">cat is back\u003c/a>, but thanks to the mice (Suzie Racho and Gabe Meline) for \u003ca href=\"https://ww2.kqed.org/arts/2017/09/21/on-the-air-gabe-and-suzies-do-list-picks-for-sept-22-2017/\" target=\"_blank\" rel=\"noopener\">filling in last week\u003c/a>. Also thanks to \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> Director Matias Tarnopolsky for joining me this week as co-host. Listen to the show (with all the podcast extras) above, and click on the links below for more details on the this week’s picks.\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 1:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxi\" target=\"_blank\" rel=\"noopener\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in Berlioz’s \u003cem>Symphonie Fantastique.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWxu\" target=\"_blank\" rel=\"noopener\">The Berkeley Symphony welcomes back Music Director Joana Carneiro for a concert featuring a world premiere by a talented young Australian composer.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 29: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWy7\" target=\"_blank\" rel=\"noopener\">The Cutting Ball Theater revives Paula Vogel’s \u003cem>The Mineola Twins, \u003c/em>a timely comedy about the rise of radical politics and feminism from the age of Eisenhower through the first Bush.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWxJ\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents that rarest of classical hat tricks, a new piece for baroque orchestra, the U.S. premiere of Sally Beamish’s \u003cem>The Judas Passion\u003c/em>.\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>Oct. 5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWwX\" target=\"_blank\" rel=\"noopener\">Myra Melford is a relentlessly creative pianist and educator with a gig at the Red Poppy Art House.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 4–8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWy0\" target=\"_blank\" rel=\"noopener\">Renaissance troubadour Billy Bragg is on a book tour for \u003cem>Roots, Radicals and Rockers: How Skiffle Changed the World, \u003c/em>his tribute to the roots of British rock.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 9–11:\u003c/strong> \u003ca href=\"http://www.lw3.com/itinerary\" target=\"_blank\" rel=\"noopener\">Loudon Wainwright is another terrific singer-songwriter out with a book, this one a memoir about his philandering ways.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Music Director Joana Carneiro didn’t conduct the Berkeley Symphony during last year’s season — she was pregnant with triplets, at her home in Portugal. But on Oct. 5 at Zellerbach Hall, she marks her return with a typically ambitious program, including a world premiere cello concerto by the young Australian composer \u003ca href=\"http://www.williamgardiner.com/\" target=\"_blank\" rel=\"noopener\">William Gardiner\u003c/a>, featuring Berkeley born cellist \u003ca href=\"http://tessaseymour.com/\" target=\"_blank\" rel=\"noopener\">Tessa Seymour\u003c/a>. Gardiner was mentored by Berkeley composer John Adams, so it’s a nice touch that the program also features Adams’ 1988 work \u003cem>Fearful Symmetries. \u003c/em>So Berkeley, and so good. \u003ca href=\"http://www.berkeleysymphony.org/concerts/adams-shostakovich/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ook_VqWiPYw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
"headTitle": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
"content": "\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Our music editor's recommendations for your concert calendar this fall. ",
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"description": "Our music editor's recommendations for your concert calendar this fall. ",
"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
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"headline": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/div>",
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"title": "A Gold Rush History on the Opera Stage",
"headTitle": "A Gold Rush History on the Opera Stage | KQED",
"content": "\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_13807067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg\" alt=\"Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King)\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King) \u003ccite>(Photo: Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cfigure id=\"attachment_13807067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg\" alt=\"Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King)\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Davone-Tines-Ned-Peters-Julia-Bullock-Dame-Shirley-Peter-Sellars-librettist-and-director-Hye-Jung-Lee-Ah-Sing-Ryan-McKinny-Clarence-King.-Photo-by-Cory-Weaver-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines (Ned Peters), Julia Bullock (Dame Shirley), Peter Sellars (librettist and director), Hye Jung Lee (Ah Sing), Ryan McKinny (Clarence King) \u003ccite>(Photo: Cory Weaver/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why John Adams Won't Write an Opera About President Trump",
"headTitle": "Why John Adams Won’t Write an Opera About President Trump | KQED",
"content": "\u003cp>Classical music isn’t the first place one expects to find political and social activism. But then, not many classical composers are John Adams, whose stature as one of the world’s most important and respected modern composers often overshadows the fact that he listened to Jimi Hendrix and Bob Dylan in his Harvard days, resisted Vietnam, and eventually moved to what he semi-jokingly calls the “liberal bubble” of Berkeley.\u003c/p>\n\u003cp>Celebrating his 70th birthday this month, Adams could easily rest on his laurels — his past works have already addressed nuclear war (\u003cem>Dr. Atomic\u003c/em>), feminism (\u003cem>The Gospel According to the Other Mary\u003c/em>), the Middle East (\u003cem>The Death of Klinghoffer\u003c/em>), and U.S.-foreign relations (\u003cem>Nixon in China\u003c/em>). Instead, he’s premiering a new opera this year, \u003cem>\u003ca href=\"https://www.earbox.com/girls-golden-west/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls of the Golden West\u003c/a>\u003c/em>, that touches on race relations, the silencing of dissent, women’s rights, and what we now call “fake news.” \u003c/p>\n\u003cp>In the midst of large-scale celebrations of Adams’ work around the world (including \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">three ambitious programs of his work at the San Francisco Symphony\u003c/a> in February), I spoke with the composer over the phone from his studio in northern Sonoma County about life under Trump, the dangers of the internet, the efficacy of musical protest and more. \u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\n \u003c/p>\n\u003cfigure id=\"attachment_12735611\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-800x1202.jpg\" alt=\"John Adams.\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-12735611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Vern Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So, how have you been feeling these past few weeks since Jan. 20?\u003c/strong>\u003c/p>\n\u003cp>I think I feel pretty much like everyone I know. It’s interesting — I left San Francisco on Inauguration Day to go to Berlin, where they did performances of my big oratorio, \u003cem>The Gospel According to the Other Mary\u003c/em>. It was just a cultural shock of the highest order to arrive in this city, which has seen so much tragedy and destruction because of its arrogance way back in the early part of the twentieth century — and is now the most tolerant, most welcoming multicultural city, probably in the world. To arrive as an American knowing that our country is heading full-throttle into what could be the worst social and political crisis in decades, if not in the history of the country, was a deeply shocking and troubling experience.\u003c/p>\n\u003cp>\u003cstrong>Did the election of Donald Trump surprise you?\u003c/strong>\u003c/p>\n\u003cp>Of course. I think it surprised everybody. Probably even him. I was reading the \u003cem>New York Times\u003c/em> and the \u003cem>Washington Post\u003c/em>, and we were all being constantly assured that it was a slam dunk for Hilary Clinton. I wasn’t the only one. It was the greatest shock I felt as a citizen since Sept. 11.\u003c/p>\n\u003cp>\u003cstrong>You have composed many pieces that would… I don’t necessarily want to call them prophetic, but touch on issues that are very electrified right now.\u003c/strong>\u003c/p>\n\u003cp>You mean like \u003cem>The Death of Klinghoffer\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Right, and we’ve just seen Trump’s Muslim ban enacted. There’s \u003cem>Dr. Atomic\u003c/em>, and now Trump says we should build up our nuclear arsenal. Or how \u003cem>Nixon in China\u003c/em> parallels with today, in a way, as a study of a leader’s personality and behavior. If you could compose an opera based on the White House right now, what issues would it comment on?\u003c/strong>\u003c/p>\n\u003cp>The idea of a Trump opera doesn’t interest me in the least. First of all, because so much of what he does is theater to begin with. It’s a terrible form of exploitive theater, but there’s no point in trying to make theater about theater. Furthermore, you don’t want to spend time as an artist giving your very best to a person who is a sociopath. He’s not an interesting character, because he has no capacity for empathy. The only empathy that he can extend is to his family, who are just extensions of his own ego, and beyond that, he doesn’t care. Everyone else is someone to be manipulated and controlled.\u003c/p>\n\u003cp>The thing with Nixon was he was interesting because he was vulnerable. His weaknesses were marvelously mixed up with his idealism. At the moment in \u003cem>Nixon in China\u003c/em> where he comes off the plane, and he greets Zhou Enlai, he sings this aria about being aware of himself as president, and being like the Apollo astronaut. He’s the pilot who’s piloting the ship through shoals. You can believe that there’s a part of Nixon that is actually noble despite all his paranoia and his faults.\u003c/p>\n\u003cp>I couldn’t imagine doing that with Trump, because there’s just nothing there except this raw, very dangerous ego, and overwhelming vanity. Maybe if I live that long, I will find some story that reflects this crisis, but I would have to approach it from an oblique angle.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Many artists that we’ve talked to have a form of writer’s block. They’re paralyzed by this. Are you?\u003c/strong>\u003c/p>\n\u003cp>No, not at all. I’m just finishing an opera for San Francisco Opera, which will premiere in November, \u003cem>Girls of the Golden West\u003c/em>. This opera, which I was working on all during the campaign, is based on the real, true facts of that era, and I discovered some interesting parallels. First of all, the people that came to California during the gold rush had been fed “fake news” by the media. All the journals and newspapers in the Midwest and the East even as far away as Europe were full of these bogus stories where all you had to do was get out here, and you could just bend over and pick up nuggets of gold and become immediately rich.\u003c/p>\n\u003cp>\u003cstrong>Which turned out to be, say, “alternative facts”?\u003c/strong>\u003c/p>\n\u003cp>That’s exactly it. When they got here, some people did get wealthy. But most of the people that got wealthy were the people who were smart, and didn’t make money from gold, but from supporting the influx — like people who sold food at outrageous prices. It’s amazing what the inflation of prices was in San Francisco and throughout Northern California during the gold rush.\u003c/p>\n\u003cp>But secondly, once things started getting tough, the white people turned around and virulently attacked the Mexicans, the Chinese, the Chileans and anyone who looked different. Of course, I’m composing this opera during the Trump campaign and feeling — what do the French say, \u003cem>rien de nouveau sous le soleil\u003c/em> — there’s nothing new under the sun.\u003c/p>\n\u003cp>And also, my opera deals with a few very brave and feisty women who were out here, and some of the misogyny. The culminating event in this opera is an incident that took place in the tiny gold rush town of Downieville, which is just down the road from where I’ve had a cabin for the last 35 years. A young Mexican woman about 25 was being harassed by a drunken white gold miner, and she stabbed him and killed him. The whole town insisted on giving her an immediate trial, and then they hanged her from the bridge over the Yuba River. \u003c/p>\n\u003cp>\u003cstrong>To keep drawing comparisons to the modern day, we’ve seen so much violent behavior in the past year. Some of it encouraged, even.\u003c/strong>\u003c/p>\n\u003cp>It’s awful. I was composing this crowd scene where I had to make up slogans for the crowd to scream. I had to contain myself from adding “Lock Her Up.” I thought that would be just a little too close to home. Anyway, I don’t want to make it sound like I’ve written this vicious propaganda work. Actually, there’s a great deal of warmth and humor and humanity in the piece. \u003c/p>\n\u003cfigure id=\"attachment_12735620\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg\" alt=\"John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC.\" width=\"1100\" height=\"585\" class=\"size-full wp-image-12735620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-1020x542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-960x511.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-520x277.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC. \u003ccite>(Lambert Orkis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We just saw a massive number of women marching around the country, and with the San Francisco Symphony, you’re doing \u003cem>Scheherazade.2\u003c/em> and \u003cem>The Gospel According to the Other Mary\u003c/em>, both stories with strong female characters like the \u003cem>Girls of the Golden West\u003c/em>. Where do you think your empathy for women comes from?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived with some wonderful and very strong and independent women, including my wife \u003ca href=\"https://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deborah O’Grady\u003c/a>, the photographer, and our daughter Emily, who is a painter. I think over the years I’ve become more sensitized to male assumptions, or presumptions. I’ve been able to look back on my own assumptions and realize that some of my own behavior, like almost every other man I know, needed a little adjustment.\u003c/p>\n\u003cp>But as a composer, what Carl Jung described as the female anima is such a strong force, and it really is the lyrical and expressive element in music. I don’t want to get into corny descriptions like they used to, where they said the first theme in a symphony was “masculine,” and the second theme was “feminine” — that’s a kind of embarrassing, sexist thing. But I do think of the feminine as an archetypal notion of warmth, expressiveness, understanding, and also of power. Those are the kinds of energies that are really behind the meaning of music.\u003c/p>\n\u003cp>\u003cstrong>What do you think about the idea that artists have a \u003cem>responsibility\u003c/em> now to react to our new administration?\u003cbr>\n\u003c/strong>\u003cbr>\nI think that’s an easy thing to say. I would simply say, forget the “artist” part of that and just say we \u003cem>all\u003c/em> have a responsibility. Every citizen does. And how we do it is up to each individual, whether you want to get on a plane and go protest in front of the White House or whether you want to work actively in your own neighborhood to get out the vote. Everybody has to do it in his or her own way.\u003c/p>\n\u003cfigure id=\"attachment_12735825\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg\" alt=\"A protest outside the Metropolitan Opera in New York City on opening night of the opera, 'The Death of Klinghoffer' on October 20, 2014.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12735825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest outside the Metropolitan Opera in New York City on opening night of the opera, ‘The Death of Klinghoffer’ on October 20, 2014. \u003ccite>(Bryan Thomas/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your way has meant that you’ve had people like Rudy Giuliani and Ruth Bader Ginsburg comment on your work.\u003cbr>\n\u003c/strong>\u003cbr>\nI got five minutes of scolding from Rush Limbaugh! I want to put that in my biography as a mark of distinction.\u003c/p>\n\u003cp>\u003cstrong>After that, after \u003cem>The Death of Klinghoffer\u003c/em>, did you feel a need, or an allure, to create art to spur listeners into challenging ideas?\u003c/strong>\u003c/p>\n\u003cp>No. I don’t think that there was anything positive about that event. Some people said, “Isn’t it great that a piece of classical music caused all that controversy, and you’ve got editorials in the \u003cem>New York Times\u003c/em>?” I didn’t take any pleasure from that at all, because it was deeply disturbing to be the target of an organized, online shaming campaign. The only positive thing about it was the mood inside the Metropolitan Opera. That the people who were there were very emotionally committed to it, and the fact that as the run went on, it became the best-selling opera of their year, or one of the top two or three. There was a nice satisfaction about that. But ultimately, it was a really awful experience in the fact that the Anti-Defamation League forced the Met to cancel the international telecast. It was a disgrace.\u003c/p>\n\u003cp>\u003cstrong>Some people today might spin that to their advantage. But you don’t revel in a reaction like that — you’re not an internet troll. \u003c/strong>\u003c/p>\n\u003cp>The internet is… I don’t use Facebook. My publisher has a page for me, and I do follow a very, very few people on Twitter, but they’re mostly young political reporters. I really like the site Vox.com.\u003c/p>\n\u003cp>The thing that I noticed about the feeds I’m reading — I was just saying this to my wife, this morning — it all agrees with my thought, and that’s the danger of the internet. People just read stuff from people that they agree with. I read all the news that kind of fits my political point of view, and I realize that people on the other side are doing the same thing, reading stuff that originates with Breitbart or whatever.\u003c/p>\n\u003cp>I know that we’ve had terrible crises in the country. In the past, Lincoln had to deal with these horrible anti-draft riots and terrible situations during the war, and of course we had the McCarthy era, on and on. But there’s something new and unknown that we’re really not prepared for in the country, and that’s the behavior patterns that the internet is causing. That’s one of the reasons that things are so violently divided in the country.\u003c/p>\n\u003cfigure id=\"attachment_12735626\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg\" alt=\"John Adams.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12735626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Deborah O'Grady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Everybody’s walking around right now saying, “What can we do?” Where do you see hope at this moment in America?\u003c/strong>\u003c/p>\n\u003cp>When I came back from Berlin on Saturday night, I came out of the customs area where they check your passport, and I heard this cheering, just a huge crowd, and then I walked into it, and there were hundreds and hundreds of people in the foyer with signs and placards. I got this rush, and it really brought me back to my student days during the Vietnam War. For years, I’ve been saying, “What’s happened to the outrage? What’s happened to the activism we showed back in the late ’60s and early ’70s?” And now I think that the country is experiencing that. It’s like a spasm.\u003c/p>\n\u003cp>I just read that \u003ca href=\"https://ww2.kqed.org/forum/2016/09/19/jeffrey-toobin-revisits-patty-hearst-case-in-american-heiress/\" target=\"_blank\" rel=\"noopener noreferrer\">new biography of Patty Hearst\u003c/a>. And, you know, with the SLA, and the Weathermen, there was a lot of domestic violence during the early ’70s. I fear that that’s going to happen again, but I do think this sense of protest and outrage and activism has been aroused. It’s anybody’s call. The scary thing is that the other side has guns. Of the thousands of people that I know personally, I think I know maybe one or two people who actually keep a gun in their home. The other side has them. That’s a very, kind of unsettling and alarming thought that if we ended up actually having a social situation that borders on a civil war.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>This year you’re turning 70. Many people reach that age and sort of relax, and stop creating, or caring about the world around them. You haven’t.\u003c/strong>\u003c/p>\n\u003cp>Oh no, I couldn’t conceive of that. I think the creative drive is a very powerful thing if you have it. Part of it’s just a measure of your own growth, your own spiritual growth, your intellectual growth. Part of it is just ego. You’re like an athlete or anybody who wants to accomplish something in life, you don’t want to be told, “Well, it’s time to hang up your gloves and just enjoy life.” We’re all driven to keep on going.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>For details and information on the San Francisco Symphony’s month-long celebration of John Adams, \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "\"There's just nothing there except this raw, very dangerous ego,\" says the composer, whose 70th birthday coincides with what he predicts \"could be the worst social and political crisis in decades.\"",
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"description": ""There's just nothing there except this raw, very dangerous ego," says the composer, whose 70th birthday coincides with what he predicts "could be the worst social and political crisis in decades."",
"title": "Why John Adams Won't Write an Opera About President Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Classical music isn’t the first place one expects to find political and social activism. But then, not many classical composers are John Adams, whose stature as one of the world’s most important and respected modern composers often overshadows the fact that he listened to Jimi Hendrix and Bob Dylan in his Harvard days, resisted Vietnam, and eventually moved to what he semi-jokingly calls the “liberal bubble” of Berkeley.\u003c/p>\n\u003cp>Celebrating his 70th birthday this month, Adams could easily rest on his laurels — his past works have already addressed nuclear war (\u003cem>Dr. Atomic\u003c/em>), feminism (\u003cem>The Gospel According to the Other Mary\u003c/em>), the Middle East (\u003cem>The Death of Klinghoffer\u003c/em>), and U.S.-foreign relations (\u003cem>Nixon in China\u003c/em>). Instead, he’s premiering a new opera this year, \u003cem>\u003ca href=\"https://www.earbox.com/girls-golden-west/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls of the Golden West\u003c/a>\u003c/em>, that touches on race relations, the silencing of dissent, women’s rights, and what we now call “fake news.” \u003c/p>\n\u003cp>In the midst of large-scale celebrations of Adams’ work around the world (including \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">three ambitious programs of his work at the San Francisco Symphony\u003c/a> in February), I spoke with the composer over the phone from his studio in northern Sonoma County about life under Trump, the dangers of the internet, the efficacy of musical protest and more. \u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\n \u003c/p>\n\u003cfigure id=\"attachment_12735611\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-800x1202.jpg\" alt=\"John Adams.\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-12735611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Vern Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So, how have you been feeling these past few weeks since Jan. 20?\u003c/strong>\u003c/p>\n\u003cp>I think I feel pretty much like everyone I know. It’s interesting — I left San Francisco on Inauguration Day to go to Berlin, where they did performances of my big oratorio, \u003cem>The Gospel According to the Other Mary\u003c/em>. It was just a cultural shock of the highest order to arrive in this city, which has seen so much tragedy and destruction because of its arrogance way back in the early part of the twentieth century — and is now the most tolerant, most welcoming multicultural city, probably in the world. To arrive as an American knowing that our country is heading full-throttle into what could be the worst social and political crisis in decades, if not in the history of the country, was a deeply shocking and troubling experience.\u003c/p>\n\u003cp>\u003cstrong>Did the election of Donald Trump surprise you?\u003c/strong>\u003c/p>\n\u003cp>Of course. I think it surprised everybody. Probably even him. I was reading the \u003cem>New York Times\u003c/em> and the \u003cem>Washington Post\u003c/em>, and we were all being constantly assured that it was a slam dunk for Hilary Clinton. I wasn’t the only one. It was the greatest shock I felt as a citizen since Sept. 11.\u003c/p>\n\u003cp>\u003cstrong>You have composed many pieces that would… I don’t necessarily want to call them prophetic, but touch on issues that are very electrified right now.\u003c/strong>\u003c/p>\n\u003cp>You mean like \u003cem>The Death of Klinghoffer\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Right, and we’ve just seen Trump’s Muslim ban enacted. There’s \u003cem>Dr. Atomic\u003c/em>, and now Trump says we should build up our nuclear arsenal. Or how \u003cem>Nixon in China\u003c/em> parallels with today, in a way, as a study of a leader’s personality and behavior. If you could compose an opera based on the White House right now, what issues would it comment on?\u003c/strong>\u003c/p>\n\u003cp>The idea of a Trump opera doesn’t interest me in the least. First of all, because so much of what he does is theater to begin with. It’s a terrible form of exploitive theater, but there’s no point in trying to make theater about theater. Furthermore, you don’t want to spend time as an artist giving your very best to a person who is a sociopath. He’s not an interesting character, because he has no capacity for empathy. The only empathy that he can extend is to his family, who are just extensions of his own ego, and beyond that, he doesn’t care. Everyone else is someone to be manipulated and controlled.\u003c/p>\n\u003cp>The thing with Nixon was he was interesting because he was vulnerable. His weaknesses were marvelously mixed up with his idealism. At the moment in \u003cem>Nixon in China\u003c/em> where he comes off the plane, and he greets Zhou Enlai, he sings this aria about being aware of himself as president, and being like the Apollo astronaut. He’s the pilot who’s piloting the ship through shoals. You can believe that there’s a part of Nixon that is actually noble despite all his paranoia and his faults.\u003c/p>\n\u003cp>I couldn’t imagine doing that with Trump, because there’s just nothing there except this raw, very dangerous ego, and overwhelming vanity. Maybe if I live that long, I will find some story that reflects this crisis, but I would have to approach it from an oblique angle.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Many artists that we’ve talked to have a form of writer’s block. They’re paralyzed by this. Are you?\u003c/strong>\u003c/p>\n\u003cp>No, not at all. I’m just finishing an opera for San Francisco Opera, which will premiere in November, \u003cem>Girls of the Golden West\u003c/em>. This opera, which I was working on all during the campaign, is based on the real, true facts of that era, and I discovered some interesting parallels. First of all, the people that came to California during the gold rush had been fed “fake news” by the media. All the journals and newspapers in the Midwest and the East even as far away as Europe were full of these bogus stories where all you had to do was get out here, and you could just bend over and pick up nuggets of gold and become immediately rich.\u003c/p>\n\u003cp>\u003cstrong>Which turned out to be, say, “alternative facts”?\u003c/strong>\u003c/p>\n\u003cp>That’s exactly it. When they got here, some people did get wealthy. But most of the people that got wealthy were the people who were smart, and didn’t make money from gold, but from supporting the influx — like people who sold food at outrageous prices. It’s amazing what the inflation of prices was in San Francisco and throughout Northern California during the gold rush.\u003c/p>\n\u003cp>But secondly, once things started getting tough, the white people turned around and virulently attacked the Mexicans, the Chinese, the Chileans and anyone who looked different. Of course, I’m composing this opera during the Trump campaign and feeling — what do the French say, \u003cem>rien de nouveau sous le soleil\u003c/em> — there’s nothing new under the sun.\u003c/p>\n\u003cp>And also, my opera deals with a few very brave and feisty women who were out here, and some of the misogyny. The culminating event in this opera is an incident that took place in the tiny gold rush town of Downieville, which is just down the road from where I’ve had a cabin for the last 35 years. A young Mexican woman about 25 was being harassed by a drunken white gold miner, and she stabbed him and killed him. The whole town insisted on giving her an immediate trial, and then they hanged her from the bridge over the Yuba River. \u003c/p>\n\u003cp>\u003cstrong>To keep drawing comparisons to the modern day, we’ve seen so much violent behavior in the past year. Some of it encouraged, even.\u003c/strong>\u003c/p>\n\u003cp>It’s awful. I was composing this crowd scene where I had to make up slogans for the crowd to scream. I had to contain myself from adding “Lock Her Up.” I thought that would be just a little too close to home. Anyway, I don’t want to make it sound like I’ve written this vicious propaganda work. Actually, there’s a great deal of warmth and humor and humanity in the piece. \u003c/p>\n\u003cfigure id=\"attachment_12735620\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg\" alt=\"John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC.\" width=\"1100\" height=\"585\" class=\"size-full wp-image-12735620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-1020x542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-960x511.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-520x277.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC. \u003ccite>(Lambert Orkis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We just saw a massive number of women marching around the country, and with the San Francisco Symphony, you’re doing \u003cem>Scheherazade.2\u003c/em> and \u003cem>The Gospel According to the Other Mary\u003c/em>, both stories with strong female characters like the \u003cem>Girls of the Golden West\u003c/em>. Where do you think your empathy for women comes from?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived with some wonderful and very strong and independent women, including my wife \u003ca href=\"https://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deborah O’Grady\u003c/a>, the photographer, and our daughter Emily, who is a painter. I think over the years I’ve become more sensitized to male assumptions, or presumptions. I’ve been able to look back on my own assumptions and realize that some of my own behavior, like almost every other man I know, needed a little adjustment.\u003c/p>\n\u003cp>But as a composer, what Carl Jung described as the female anima is such a strong force, and it really is the lyrical and expressive element in music. I don’t want to get into corny descriptions like they used to, where they said the first theme in a symphony was “masculine,” and the second theme was “feminine” — that’s a kind of embarrassing, sexist thing. But I do think of the feminine as an archetypal notion of warmth, expressiveness, understanding, and also of power. Those are the kinds of energies that are really behind the meaning of music.\u003c/p>\n\u003cp>\u003cstrong>What do you think about the idea that artists have a \u003cem>responsibility\u003c/em> now to react to our new administration?\u003cbr>\n\u003c/strong>\u003cbr>\nI think that’s an easy thing to say. I would simply say, forget the “artist” part of that and just say we \u003cem>all\u003c/em> have a responsibility. Every citizen does. And how we do it is up to each individual, whether you want to get on a plane and go protest in front of the White House or whether you want to work actively in your own neighborhood to get out the vote. Everybody has to do it in his or her own way.\u003c/p>\n\u003cfigure id=\"attachment_12735825\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg\" alt=\"A protest outside the Metropolitan Opera in New York City on opening night of the opera, 'The Death of Klinghoffer' on October 20, 2014.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12735825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest outside the Metropolitan Opera in New York City on opening night of the opera, ‘The Death of Klinghoffer’ on October 20, 2014. \u003ccite>(Bryan Thomas/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your way has meant that you’ve had people like Rudy Giuliani and Ruth Bader Ginsburg comment on your work.\u003cbr>\n\u003c/strong>\u003cbr>\nI got five minutes of scolding from Rush Limbaugh! I want to put that in my biography as a mark of distinction.\u003c/p>\n\u003cp>\u003cstrong>After that, after \u003cem>The Death of Klinghoffer\u003c/em>, did you feel a need, or an allure, to create art to spur listeners into challenging ideas?\u003c/strong>\u003c/p>\n\u003cp>No. I don’t think that there was anything positive about that event. Some people said, “Isn’t it great that a piece of classical music caused all that controversy, and you’ve got editorials in the \u003cem>New York Times\u003c/em>?” I didn’t take any pleasure from that at all, because it was deeply disturbing to be the target of an organized, online shaming campaign. The only positive thing about it was the mood inside the Metropolitan Opera. That the people who were there were very emotionally committed to it, and the fact that as the run went on, it became the best-selling opera of their year, or one of the top two or three. There was a nice satisfaction about that. But ultimately, it was a really awful experience in the fact that the Anti-Defamation League forced the Met to cancel the international telecast. It was a disgrace.\u003c/p>\n\u003cp>\u003cstrong>Some people today might spin that to their advantage. But you don’t revel in a reaction like that — you’re not an internet troll. \u003c/strong>\u003c/p>\n\u003cp>The internet is… I don’t use Facebook. My publisher has a page for me, and I do follow a very, very few people on Twitter, but they’re mostly young political reporters. I really like the site Vox.com.\u003c/p>\n\u003cp>The thing that I noticed about the feeds I’m reading — I was just saying this to my wife, this morning — it all agrees with my thought, and that’s the danger of the internet. People just read stuff from people that they agree with. I read all the news that kind of fits my political point of view, and I realize that people on the other side are doing the same thing, reading stuff that originates with Breitbart or whatever.\u003c/p>\n\u003cp>I know that we’ve had terrible crises in the country. In the past, Lincoln had to deal with these horrible anti-draft riots and terrible situations during the war, and of course we had the McCarthy era, on and on. But there’s something new and unknown that we’re really not prepared for in the country, and that’s the behavior patterns that the internet is causing. That’s one of the reasons that things are so violently divided in the country.\u003c/p>\n\u003cfigure id=\"attachment_12735626\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg\" alt=\"John Adams.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12735626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Deborah O'Grady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Everybody’s walking around right now saying, “What can we do?” Where do you see hope at this moment in America?\u003c/strong>\u003c/p>\n\u003cp>When I came back from Berlin on Saturday night, I came out of the customs area where they check your passport, and I heard this cheering, just a huge crowd, and then I walked into it, and there were hundreds and hundreds of people in the foyer with signs and placards. I got this rush, and it really brought me back to my student days during the Vietnam War. For years, I’ve been saying, “What’s happened to the outrage? What’s happened to the activism we showed back in the late ’60s and early ’70s?” And now I think that the country is experiencing that. It’s like a spasm.\u003c/p>\n\u003cp>I just read that \u003ca href=\"https://ww2.kqed.org/forum/2016/09/19/jeffrey-toobin-revisits-patty-hearst-case-in-american-heiress/\" target=\"_blank\" rel=\"noopener noreferrer\">new biography of Patty Hearst\u003c/a>. And, you know, with the SLA, and the Weathermen, there was a lot of domestic violence during the early ’70s. I fear that that’s going to happen again, but I do think this sense of protest and outrage and activism has been aroused. It’s anybody’s call. The scary thing is that the other side has guns. Of the thousands of people that I know personally, I think I know maybe one or two people who actually keep a gun in their home. The other side has them. That’s a very, kind of unsettling and alarming thought that if we ended up actually having a social situation that borders on a civil war.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This year you’re turning 70. Many people reach that age and sort of relax, and stop creating, or caring about the world around them. You haven’t.\u003c/strong>\u003c/p>\n\u003cp>Oh no, I couldn’t conceive of that. I think the creative drive is a very powerful thing if you have it. Part of it’s just a measure of your own growth, your own spiritual growth, your intellectual growth. Part of it is just ego. You’re like an athlete or anybody who wants to accomplish something in life, you don’t want to be told, “Well, it’s time to hang up your gloves and just enjoy life.” We’re all driven to keep on going.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>For details and information on the San Francisco Symphony’s month-long celebration of John Adams, \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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