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"content": "\u003cp>One might presume that having rare abilities leads to inevitable success in classical music, but that’s not always the case. As the music critic Harold Schonberg sagaciously wrote in 1992, “Not all prodigies develop into great performing artists, but on the other hand one cannot become a great performing artist without having been a prodigy.”\u003c/p>\n\u003cp>If the United States has produced any homegrown piano prodigy of note in recent memory, \u003ca href=\"https://www.georgelipianist.com/\" target=\"_blank\" rel=\"noopener noreferrer\">George Li\u003c/a> of Massachusetts would appear to fit that bill.\u003c/p>\n\u003cp>On Aug. 6 at San Francisco’s Davies Symphony Hall, Li, 25, performs Mozart’s Piano Concerto No. 24 in C Minor, K. 491 with conductor \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2020-21/A-Xian-Zhang-Conducts-the-SF-Symphony\" target=\"_blank\" rel=\"noopener noreferrer\">Xian Zhang and the San Francisco Symphony\u003c/a>. The program, which gets an encore Aug. 7 at Stanford University’s Frost Amphitheater, also includes William Grant Still’s \u003cem>Mother and Child\u003c/em> and Mozart’s Symphony No. 39, K. 543.\u003c/p>\n\u003cp>Li’s musical history has no shortage of stupefying anecdotes. At age 7, he was navigating the most treacherous of Chopin Etudes, the barometer of modern, virtuosic piano playing. By 11, there was an appearance on \u003cem>The Martha Stewart Show\u003c/em>. And four years after that, the White House called, and Li refined his talents before an audience of President Barack Obama and German Chancellor Angela Merkel.\u003c/p>\n\u003cp>“It’s funny. People tell me, ‘I used to watch your YouTube videos!’ But I never really saw myself as a prodigy,” Li says. “My parents kept telling me to keep working, that without diligence and hard work, there’s only so far talent can get you. And thankfully, I took that to heart. I was privileged to have great people, great teachers around me, and with my passion, was able to enter an environment where I could grow my mind as well.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/xRpfaGYcwfc\u003c/p>\n\u003cp>Wha Kyung Byun, Li’s principal teacher, recalls first hearing the pianist when he was 11 years old. “I’ve heard many, many prodigies, but my first impression when George touched the piano was that he and the instrument became one,” she says. “The instrument ignites something in him, and music just burst out and came to life.”\u003c/p>\n\u003cp>The transition from prodigy to artist, historically speaking, has never been quite so straightforward. Schonberg’s perceptive remark, echoed by Byun, doesn’t shirk the reality of failure for most wunderkinds, a path laden with pitfalls, both musical and commercial. For every Josef Hofmann and Martha Argerich, there are cases of \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1989/02/02/remembering-her-piano-lessons/df1d8016-0ca6-40a0-9796-0c110b2b95fd/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruth Slenczynska\u003c/a> and \u003ca href=\"https://www.nytimes.com/2000/04/18/arts/music-review-a-onetime-piano-prodigy-returns-at-31-to-carnegie-hall.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dimitris Sgouros\u003c/a>—pianists of high natural fluency, but artists who, for one reason or another, fail to sustain the imagination of the public or take ahold of their own.\u003c/p>\n\u003cp>“Any talented child can mimic,” says Byun, a professor at the New England Conservatory. “I had a young student, a girl, who was a true prodigy. She could play anything. But she got bored, things became mechanical. If you don’t have that curiosity, that fire, you cannot reach the next level. It just dies.”\u003c/p>\n\u003cp>Perhaps the greatest prodigy in history, Wolfgang Amadeus Mozart, braved an arduous transition himself. He penned his beloved Concerto No. 24—a favorite of Byun’s that Li will perform this week—at age 30, just five years before his death. It reveals a brimming imagination fueled by industriousness and the desire to create.\u003c/p>\n\u003cp>“What’s so special about Mozart is there’s a freedom of imagination there,” Li says. “A lot of it has to be pure talent, but it’s the mental capacity—and not just the intellect, [but] the artistic freedom to create so much. His music is written in the classical form, bound by all of its rules, but it’s always changing—almost improvisatory—and the sheer amount of ideas that flows from the music is just astounding.”\u003c/p>\n\u003cp>“I started learning the concerto in May, and there’s this gorgeous balance of elegance, tragedy and sorrow,” Li continues. “Professor Byun painted a scene for me of an orphan on the street looking for his or her parents. It’s a vulnerable and tragic scene, but very beautiful.”\u003c/p>\n\u003cp>https://youtu.be/0b6gSb8ZKX4\u003c/p>\n\u003cp>All musical prodigies are, in essence, artistic orphans, vulnerable to the interests and whims of the world, and always in need of esoteric guidance. The few who find artistic nourishment in the form of knowledgeable mentors and sensible benefactors are the fortunate ones who stand any chance of going further.\u003c/p>\n\u003cp>“You can have the seed of the most beautiful plant, but you have to nourish it,” Byun says. “I love Einstein’s quotation, ‘Knowledge without imagination is nothing.’ That’s where George is very different: he has that fire. Of course, he is very disciplined, very talented, but he also has a great appetite for learning things beyond music.” [aside postid='arts_13900365']\u003c/p>\n\u003cp>As if otherworldly talent, devotion and inspired artistic guidance aren’t hard enough to come by, the fortunate ones of Asian descent face an additional hurdle. They must also learn to navigate prejudices and racial stereotypes that exist within the field to this day.\u003c/p>\n\u003cp>“I’ve had many severe moments,” reflects Li, whose parents are from China. “It’s really important to not racially profile anyone and make generalizations. They’re not helpful. Lang Lang’s musical expression is completely different from Yuja [Wang]’s, which is different from Seong-Jin Cho’s, which is different from mine. Everybody has a different statement.”\u003c/p>\n\u003cp>“As Asians, we have parents who are very much helping us, pushing us to grow,” he says. “We do everything very seriously in music, so of course it’s hurtful when it’s all taken as a joke, or when people say, ‘Oh, you play very fast’ or ‘like robots with a metronome.’ Those remarks aren’t helpful.”\u003c/p>\n\u003cp>https://youtu.be/1K5Jo6IxWtU\u003c/p>\n\u003cp>In spite of these challenges, Li is, without question, a marvel of success. An English Literature major at Harvard, he won the silver medal at the 2015 International Tchaikovsky Competition in Moscow, cementing a career that for decades has appeared on the verge of exploding.\u003c/p>\n\u003cp>“George can do anything at the piano, truly, but he’s very humble,” Byun says. “When he learns how to produce a new sound at the piano, his eyes really shine. ‘I see it! I hear it!’ he tells me excitedly. And that ignites something within me. That’s really what music is all about: music reveals the very best things in life. Otherwise, life is just breathing. It’s all just routine.”\u003c/p>\n\u003cp>Perhaps propensity for growth, which leads to freedom of imagination, is the talent that trumps all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>George Li performs with the San Francisco Symphony at Davies Symphony Hall on Aug. 6 and at Stanford’s Frost Amphitheater on Aug. 7. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2020-21/A-Xian-Zhang-Conducts-the-SF-Symphony\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As if otherworldly talent, devotion and inspired artistic guidance aren’t hard enough to come by, the fortunate ones of Asian descent face an additional hurdle. They must also learn to navigate prejudices and racial stereotypes that exist within the field to this day.\u003c/p>\n\u003cp>“I’ve had many severe moments,” reflects Li, whose parents are from China. “It’s really important to not racially profile anyone and make generalizations. They’re not helpful. Lang Lang’s musical expression is completely different from Yuja [Wang]’s, which is different from Seong-Jin Cho’s, which is different from mine. Everybody has a different statement.”\u003c/p>\n\u003cp>“As Asians, we have parents who are very much helping us, pushing us to grow,” he says. “We do everything very seriously in music, so of course it’s hurtful when it’s all taken as a joke, or when people say, ‘Oh, you play very fast’ or ‘like robots with a metronome.’ Those remarks aren’t helpful.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1K5Jo6IxWtU'\n title='//www.youtube.com/embed/1K5Jo6IxWtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In spite of these challenges, Li is, without question, a marvel of success. An English Literature major at Harvard, he won the silver medal at the 2015 International Tchaikovsky Competition in Moscow, cementing a career that for decades has appeared on the verge of exploding.\u003c/p>\n\u003cp>“George can do anything at the piano, truly, but he’s very humble,” Byun says. “When he learns how to produce a new sound at the piano, his eyes really shine. ‘I see it! I hear it!’ he tells me excitedly. And that ignites something within me. That’s really what music is all about: music reveals the very best things in life. Otherwise, life is just breathing. It’s all just routine.”\u003c/p>\n\u003cp>Perhaps propensity for growth, which leads to freedom of imagination, is the talent that trumps all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After an unusual year of adaptation and experimentation, the San Francisco Symphony will be back in full swing with its 2021–2022 season, announced this morning. Returning to Davies Symphony Hall, the orchestra will keep one foot planted in Western classical tradition while exploring diverse musical influences, contemporary compositions and collaborations well beyond the canon.\u003c/p>\n\u003cp>“The past year has been anything but typical, but the musicians, administration, operations team and collaborative partners have more than risen to the task,” said San Francisco Symphony Music Director Esa-Pekka Salonen in a statement. “Now, we have to come to terms with another challenging prospect: that there is no getting back to ‘normal,’ unless we attempt to redefine what it means. The new ‘normal’ for us must be to push boundaries and explore the world around us with openness and curiosity.”\u003c/p>\n\u003cp>The season kicks off with a collaboration with bassist Esperanza Spalding, one of Salonen’s collaborative partners at the orchestra, and the Alonzo King LINES ballet on the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/opening-night-gala\" target=\"_blank\" rel=\"noopener noreferrer\">Re-Opening Night Gala\u003c/a> on Oct. 1 and an \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">additional night on Oct. 2\u003c/a>. The orchestra will perform works by San Francisco composer John Adams and jazz saxophonist and composer Wayne Shorter—two living greats—as well as 20th-century Argentinian composer Alberto Ginastera and Mexican composer and violinist Silvestre Revueltas.\u003c/p>\n\u003cp>Other highlights of the season include a new version of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/Julia-Bullock-Historys-Persistent-Voice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>History’s Persistent Voice\u003c/em>\u003c/a> by Julia Bullock, a renowned soprano and another of the orchestra’s collaborative partners. Bullock curated the program as an homage to centuries of creativity from Black artists, and the San Francisco Symphony will debut two new commissions as part of it.[aside postid='arts_13889101']\u003c/p>\n\u003cp>In addition to an Orchestral Series conducted by Salonen, there will be a Great Performer series focused on soloists such as pianist Kirill Kuzman and mezzo-soprano Sasha Cooke, who will perform together in \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/HOW-DO-I-FIND-YOU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>How Do I Find You\u003c/em>\u003c/a>, featuring 17 new works written for Cooke during the pandemic. Experimental, multi-media concerts will return as part of the SoundBox series, and family concerts, film screenings, a program conducted by Music Director Laureate Michael Tilson Thomas and more are on the horizon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full schedule of events and ticket information can be found \u003ca href=\"https://www.sfsymphony.org/Calendar\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an unusual year of adaptation and experimentation, the San Francisco Symphony will be back in full swing with its 2021–2022 season, announced this morning. Returning to Davies Symphony Hall, the orchestra will keep one foot planted in Western classical tradition while exploring diverse musical influences, contemporary compositions and collaborations well beyond the canon.\u003c/p>\n\u003cp>“The past year has been anything but typical, but the musicians, administration, operations team and collaborative partners have more than risen to the task,” said San Francisco Symphony Music Director Esa-Pekka Salonen in a statement. “Now, we have to come to terms with another challenging prospect: that there is no getting back to ‘normal,’ unless we attempt to redefine what it means. The new ‘normal’ for us must be to push boundaries and explore the world around us with openness and curiosity.”\u003c/p>\n\u003cp>The season kicks off with a collaboration with bassist Esperanza Spalding, one of Salonen’s collaborative partners at the orchestra, and the Alonzo King LINES ballet on the \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/opening-night-gala\" target=\"_blank\" rel=\"noopener noreferrer\">Re-Opening Night Gala\u003c/a> on Oct. 1 and an \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">additional night on Oct. 2\u003c/a>. The orchestra will perform works by San Francisco composer John Adams and jazz saxophonist and composer Wayne Shorter—two living greats—as well as 20th-century Argentinian composer Alberto Ginastera and Mexican composer and violinist Silvestre Revueltas.\u003c/p>\n\u003cp>Other highlights of the season include a new version of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/Julia-Bullock-Historys-Persistent-Voice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>History’s Persistent Voice\u003c/em>\u003c/a> by Julia Bullock, a renowned soprano and another of the orchestra’s collaborative partners. Bullock curated the program as an homage to centuries of creativity from Black artists, and the San Francisco Symphony will debut two new commissions as part of it.\u003c/p>\u003c/div>",
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"title": "SF Symphony Returns to In-Person Concerts in May",
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"content": "\u003cp>When Esa-Pekka Salonen took the helm of the San Francisco Symphony in 2020, he promised to bring a tech-savvy, forward-thinking vision to the 110-year-old orchestra. This willingness to adapt proved to be very useful when the pandemic forced the cancellation of Salonen’s ambitious debut season as music director. Quickly, he and the symphony switched gears, launching a new \u003ca href=\"https://www.kqed.org/arts/13891311/sfsymphonys-new-streaming-service-debuts-with-multi-cultural-concerts-collaborations\" target=\"_blank\" rel=\"noopener noreferrer\">streaming service\u003c/a> with the belief that online performances are an art form in their own right, and trying experiments like \u003ca href=\"https://www.kqed.org/arts/13884842/sf-symphonys-11-concerts-offer-a-lifeline-while-live-music-is-on-pause\" target=\"_blank\" rel=\"noopener noreferrer\">private, outdoor, socially distanced concerts\u003c/a> for solitary fans through a raffle system.\u003c/p>\n\u003cp>Noble as these experiments have been, they certainly haven’t replaced the feeling of witnessing dozens of top-tier instrumentalists perform in person. But with millions of Californians now vaccinated and \u003ca href=\"http://sfsymphony.org/safety\" target=\"_blank\" rel=\"noopener noreferrer\">safety guidelines\u003c/a> for live entertainment in place, the day has finally arrived. The San Francisco Symphony has announced its return to live events at Davies Symphony Hall on May 6, with concerts taking place every Thursday and Friday in May and June.\u003c/p>\n\u003cp>“A friend recently said to me, ‘We just need to start.’ I feel joy and relief at finally being able to do just that with the San Francisco Symphony,” Salonen said in a statement. “We go into these concerts having worked as a unit to bring music into your homes in unique and meaningful ways this year. We now welcome audiences into our home—something we didn’t realize we had taken for granted. Let’s get started, together.”\u003c/p>\n\u003cp>All tickets for the May 6 and 7 performances, and a portion of tickets for the concerts that follow, will be given out for free to Bay Area medical professionals. Each concert will be 75 minutes in length with no intermission. A number of other COVID-19 precautions will be in place, including contactless tickets, a smaller audience, universal mask requirements and proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>The program for the first pair of concerts, led by Salonen, includes Jean Sibelius’ \u003cem>Rakastava\u003c/em>, George Walker’s \u003cem>Lyric for Strings\u003c/em>, Carl Nielsen’s \u003cem>Little Suite for Strings\u003c/em>, Caroline Shaw’s \u003cem>Entr’acte\u003c/em> and Edvard Grieg’s \u003cem>From Holberg’s Time Suite\u003c/em>. On May 13 and 14, pianist Jeremy Denk leads the orchestra in performances of William Grant Still’s \u003cem>Out of the Silence\u003c/em>, Johann Sebastian Bach’s Keyboard Concerto No. 1 in D minor, BWV 1052, Wolfgang Amadè Mozart’s Piano Concerto No. 14 in E-flat major, K.449, and Gerald Finzi’s \u003cem>Eclogue\u003c/em> for Piano and Strings. On May 20 and 21, guest conductor James Gaffigan joins for the U.S. premiere of Freya Waley-Cohen’s \u003cem>Talisman\u003c/em>, Arnold Schoenberg’s \u003cem>Verklärte Nacht\u003c/em> and Samuel Barber’s \u003cem>Adagio for Strings\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The rest of the schedule will be announced on May 24, and more details about concerts in July and August will arrive in June. Tickets go on sale on May 6 at 10am and may be purchased by phone from the box office. \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Esa-Pekka Salonen took the helm of the San Francisco Symphony in 2020, he promised to bring a tech-savvy, forward-thinking vision to the 110-year-old orchestra. This willingness to adapt proved to be very useful when the pandemic forced the cancellation of Salonen’s ambitious debut season as music director. Quickly, he and the symphony switched gears, launching a new \u003ca href=\"https://www.kqed.org/arts/13891311/sfsymphonys-new-streaming-service-debuts-with-multi-cultural-concerts-collaborations\" target=\"_blank\" rel=\"noopener noreferrer\">streaming service\u003c/a> with the belief that online performances are an art form in their own right, and trying experiments like \u003ca href=\"https://www.kqed.org/arts/13884842/sf-symphonys-11-concerts-offer-a-lifeline-while-live-music-is-on-pause\" target=\"_blank\" rel=\"noopener noreferrer\">private, outdoor, socially distanced concerts\u003c/a> for solitary fans through a raffle system.\u003c/p>\n\u003cp>Noble as these experiments have been, they certainly haven’t replaced the feeling of witnessing dozens of top-tier instrumentalists perform in person. But with millions of Californians now vaccinated and \u003ca href=\"http://sfsymphony.org/safety\" target=\"_blank\" rel=\"noopener noreferrer\">safety guidelines\u003c/a> for live entertainment in place, the day has finally arrived. The San Francisco Symphony has announced its return to live events at Davies Symphony Hall on May 6, with concerts taking place every Thursday and Friday in May and June.\u003c/p>\n\u003cp>“A friend recently said to me, ‘We just need to start.’ I feel joy and relief at finally being able to do just that with the San Francisco Symphony,” Salonen said in a statement. “We go into these concerts having worked as a unit to bring music into your homes in unique and meaningful ways this year. We now welcome audiences into our home—something we didn’t realize we had taken for granted. Let’s get started, together.”\u003c/p>\n\u003cp>All tickets for the May 6 and 7 performances, and a portion of tickets for the concerts that follow, will be given out for free to Bay Area medical professionals. Each concert will be 75 minutes in length with no intermission. A number of other COVID-19 precautions will be in place, including contactless tickets, a smaller audience, universal mask requirements and proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>The program for the first pair of concerts, led by Salonen, includes Jean Sibelius’ \u003cem>Rakastava\u003c/em>, George Walker’s \u003cem>Lyric for Strings\u003c/em>, Carl Nielsen’s \u003cem>Little Suite for Strings\u003c/em>, Caroline Shaw’s \u003cem>Entr’acte\u003c/em> and Edvard Grieg’s \u003cem>From Holberg’s Time Suite\u003c/em>. On May 13 and 14, pianist Jeremy Denk leads the orchestra in performances of William Grant Still’s \u003cem>Out of the Silence\u003c/em>, Johann Sebastian Bach’s Keyboard Concerto No. 1 in D minor, BWV 1052, Wolfgang Amadè Mozart’s Piano Concerto No. 14 in E-flat major, K.449, and Gerald Finzi’s \u003cem>Eclogue\u003c/em> for Piano and Strings. On May 20 and 21, guest conductor James Gaffigan joins for the U.S. premiere of Freya Waley-Cohen’s \u003cem>Talisman\u003c/em>, Arnold Schoenberg’s \u003cem>Verklärte Nacht\u003c/em> and Samuel Barber’s \u003cem>Adagio for Strings\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.[aside postid='arts_13889101']\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after Esa-Pekka Salonen stepped into his role as San Francisco Symphony music director, the pandemic upended months of scheduled concerts meant to expand the orchestra’s cultural horizons. Salonen and the musicians quickly pivoted, and the symphony moved online with projects like its genre-defying podcast and mini-doc series, \u003cem>\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">CURRENTS\u003c/a>\u003c/em>. (“No matter how we spin it, we are not an orchestra,” Salonen told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”)\u003c/p>\n\u003cp>In that spirit of making music accessible, the San Francisco Symphony announced today its new on-demand streaming platform, \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. The service is subscription-based, although it offers some free content, and will feature new \u003cem>CURRENTS\u003c/em> episodes that explore Indian classical, Native American, Zimbabwean, Persian and klezmer musical cultures.\u003c/p>\n\u003cp>SFSymphony+ also includes a slate of new SoundBox programs. SoundBox is the SF Symphony’s more intimate, \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\" rel=\"noopener noreferrer\" target=\"_blank\">less formal concert series\u003c/a>, where contemporary composers present programs that incorporate multimedia and experimental collaborations. SFSymphony+ will have new, virtual SoundBox concerts once a month. The first program, on Feb. 4, will be curated by Salonen. Titled \u003cem>Nostalgia\u003c/em>, the concert features three pieces created in the last 10 years: Freya Waley-Cohen’s \u003cem>Conjure\u003c/em>, Missy Mazzoli’s \u003cem>Vespers for Violin\u003c/em> and Caroline Shaw’s \u003cem>Entr’acte\u003c/em>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following SoundBox, on March 11, is curated by Julia Bullock, a forward-thinking, young soprano whose program, \u003cem>Lineage\u003c/em>, illuminates unexpected connections between Johann Sebastian Bach, Nina Simone and contemporary artists such as bassist Esperanza Spalding and pianist Aruán Ortiz. Bullock has been widely praised for her profound ability to mine different time periods and musical traditions for universal, emotional themes—a skill that will be on full display here.\u003c/p>\n\u003cp>SoundBox continues through Aug. 26; other curators include harpist Destiny Muhammad, composer Nico Muhly and flutist (and MacArthur fellow) Claire Chase. SFSymphony+ will also feature a virtual \u003ca href=\"http://sfsymphony.org/cny\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year\u003c/a> celebration on Feb. 20 organized around the themes associated with the Year of the Ox: unity, prosperity and growth. The program will feature Asian folk music and contemporary works alike, including Chen Yi’s \u003cem>Romance of Hsiao and Ch’in\u003c/em> from \u003cem>Romance and Dance\u003c/em>, Zhou Long’s Chinese folk songs, Julian Yu’s \u003cem>Flower Riddle and Dry Boat Dance from Chinese Folk Song Suite\u003c/em>, Yao-Xing Chen’s \u003cem>Gallop of Warhorses\u003c/em>, Yuan-Kai Bao’s \u003cem>Little Cabbage\u003c/em> from \u003cem>Chinese Sights and Sounds\u003c/em>, and Wenying Wu’s arrangement of the traditional song \u003cem>Tajiks Festival\u003c/em>. The Chinese New Year program is free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The challenge with digital programming is to create something that has its own identity, an essential uniqueness that allows it to function as a self-contained piece of art,” Salonen wrote in a statement. “And to achieve that, it’s not enough just to capture a great performance by strong musicians, or even to have interesting programming. Instead, every member of the organization—on the performance level, on the production level, on the administrative level—needs to be working in harmony, drawing upon one another’s talents and strengths.”\u003c/p>\n\u003cp>“What we’ve created for SFSymphony+ could not have been realized in a traditional live setting,” he continued. “My hope, once live performances do resume, is that we can sustain the dialogue between digital and live performance to create something that audiences will find compelling and valuable—not only in the Bay Area, but across the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A full schedule of programming and more information on SFSymphony+ can be found \u003ca href=\"http://sfsymphonyplus.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World",
"headTitle": "Julia Bullock’s Empathy is Her Superpower in the Classical Music World | KQED",
"content": "\u003cp>[dropcap]I[/dropcap]n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>[pullquote size=large citation='Julia Bullock']“You can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”[/pullquote]\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\u003c/p>\n\u003cp>https://youtu.be/emeAjAK8fr4\u003c/p>\n\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n February, \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Bullock\u003c/a> stood on stage at Davies Symphony Hall in San Francisco, excavating the depths of her soul. To truly convey to the audience the euphoria and heartache of Benjamin Britten’s \u003cem>Les Illuminations\u003c/em>, based on Rimbaud’s poems about spiritual transcendence, drug addiction and homelessness, she had to tap into painful parts of her coming-of-age story.\u003c/p>\n\u003cp>“The act of going through all the imagery emotionally and then seeing where [it] takes me psychologically, that’s how I can hook into it and deliver it,” the star soprano explained to me backstage during rehearsal, just weeks before the COVID-19 shutdown hit. “Otherwise, it turns into some weird exercise of trying not to be a human being—and that I can’t tolerate.”\u003c/p>\n\u003cp>At 33 years old, Bullock has become a luminary in the classical music world for her unique ability to capture a piece’s gripping emotional qualities in a way that transcends time, space and cultural barriers. She is a master of connection, digging deep into material to convey universal human experiences and emotions that lay within, refracting them through her prismatic voice to illuminate their beauty.\u003c/p>\n\u003cp>This ability to connect pieces of music through their emotional cores is also her strength as a curator. While praised for her innovative juxtapositions of Western classical music and traditionally Black American genres such as jazz, Bullock resists the idea that she does so simply to be different. (“I don’t ever want anything I’m presenting to the public to come off as me trying to be clever, because I feel the relationships in an explicit way,” she says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rather, Bullock’s genre-mixing, cross-cultural programming is the output of a passionate listener and student of history with omnivorous tastes. Discussing a program called \u003cem>Lineage\u003c/em> that she curated for San Francisco Symphony’s Soundbox—its series of intimate, experimental performances—she points easily to the links between Nina Simone and Johann Sebastian Bach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You can hear very explicitly in all of her improvisations that she’s referencing Bach, and she studied classical piano. The reason she started singing and playing jazz is because she needed a job,” she says of Simone, laughing in disbelief at this factoid. “Very practical!”\u003c/p>\n\u003cp>It’s this adventurous ear that’s earned Bullock prestigious opportunities. She’s worked extensively with contemporary composers such as \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a>, snagging prominent roles in his operas \u003cem>Girls of the Golden West\u003c/em> and \u003cem>Doctor Atomic\u003c/em>. More recently, she was an artist-in-residence at the San Francisco Symphony and the Metropolitan Museum of Art, where she spent the 2018–19 season exploring the legacies of Josephine Baker and Langston Hughes and resurrecting the songs of enslaved people. Calling her residency at the Met historic, \u003ca href=\"https://www.vanityfair.com/style/2018/12/julia-bullock-opera-singer-metropolitan-museum-of-art\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>’s Keziah Weir applauded Bullock’s unique ability to “inject each note she sings with a sense of grace and urgency.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he coronavirus pandemic has, for all practical purposes, thwarted what was due to be an exciting year for Bullock at the San Francisco Symphony. Bullock’s Soundbox program originally slated for April was canceled, along with all Symphony live events until at least July of 2021. (Audiences may see some of the \u003cem>Lineage\u003c/em> material in a future online program.)\u003c/p>\n\u003cp>This year, the Symphony’s new musical director Esa-Pekka Salonen stepped into his role, and he enlisted Bullock and seven other interdisciplinary creatives as his “brain trust” of creative partners poised to help take the organization in new directions of embracing technology and a diversity of genres and cultural perspectives. A major showcase with them was supposed to kick off the season.\u003c/p>\n\u003cp>Instead, the Symphony has forayed into\u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\"> podcasts and digital video\u003c/a>. (“No matter how we spin it, we are not an orchestra,” Salonen recently told \u003ca href=\"https://www.nytimes.com/2020/10/28/arts/music/san-francisco-symphony-nico-muhly.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a>. “We are a media house.”) Yet despite these limitations, Salonen continues to experiment. On Saturday, Nov. 14, he, Bullock and the other creative partners will star in a digital premiere of composer Nico Muhly’s new piece, \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Throughline\u003c/em>\u003c/a>, which functions more like a set of miniature concertos that bridge the digital divide. The performance will \u003ca href=\"https://www.sfsymphony.org/Watch-and-listen/Events/Throughline\" target=\"_blank\" rel=\"noopener noreferrer\">stream online\u003c/a> and \u003ca href=\"https://www.kqed.org/tv/schedules/weekly\" target=\"_blank\" rel=\"noopener noreferrer\">broadcast\u003c/a> on KQED Channel 9.\u003c/p>\n\u003cfigure id=\"attachment_13889263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_2-800x502.jpg\" alt=\"\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13889263\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock backstage at Davies Symphony Hall. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly nine months since our first interview, I catch up with Bullock via Zoom. Born in St. Louis and previously based in New York City, she now lives in Munich, Germany, where she’s been sheltering in place with her husband, conductor Christian Reif. Typically, the couple is apart for much of the year because of work travel. “Some days have been great and feeling relatively normal—or not normal, but just living my life,” she says. “And other days have felt incredibly disruptive. Feelings of frustration and irritation and discontent are equally as present as feeling grateful for being able to be with my husband.”\u003c/p>\n\u003cp>Bullock’s measured response is one of someone who’s visited her darkest places and spent years climbing back into the light, thanks to music and therapy. When we first met, in February, I asked Bullock why she’s so candid about her past struggles with addiction and mental health. In interviews, she’s discussed going to rehab at age 20, and how several years ago, her singing career was nearly derailed because of a psychosomatic ailment that caused her to gag uncontrollably, sometimes mid-song or mid-speech.\u003c/p>\n\u003cp>It turns out she went public with this information by accident. She opened up about it to \u003cem>New York Times\u003c/em> journalist Zachary Woolfe during a cab ride in between \u003ca href=\"https://www.nytimes.com/2019/10/25/arts/music/julia-bullock-zauberland-lincoln-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">interviews\u003c/a>, she recalls, not realizing her confession would get published. But once it did, she found herself feeling not embarrassed, but freed from her secret.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/emeAjAK8fr4'\n title='//www.youtube.com/embed/emeAjAK8fr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was really moving, hearing from other young performers who are struggling with similar things and afraid to talk about it—even amongst the friends, the teachers,” she says. “The reason you become a musician is because you’re allowing yourself to open up and be vulnerable and relate to people. But you can’t actually relate to people truly unless you’re bringing yourself into the room. You don’t have to present some perfect vision of yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat grounded perspective has helped Bullock stay relatively calm during the pandemic. While scientists say COVID’s \u003ca href=\"https://www.dw.com/en/coronavirus-germany-sees-signs-of-curve-flattening/a-55573917\" target=\"_blank\" rel=\"noopener noreferrer\">spread is slowing in Germany\u003c/a>, most of her friends and family and many of her collaborators live in the United States, which has some of the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/10/13/923253681/americans-are-dying-in-the-pandemic-at-rates-far-higher-than-in-other-countries\" target=\"_blank\" rel=\"noopener noreferrer\">globe’s worst COVID-19 infection and death rates\u003c/a>. Bullock has made the tough decision to not return across the Atlantic for the foreseeable future.\u003c/p>\n\u003cp>“Part of this period I feel is about survival in the most literal sense, in a severe sense. I can’t be casual—and I don’t want anyone I love and care about to be casual about their lives right now,” she says. “There are certain decisions I’ve made about not traveling to the States because I didn’t want to put my life at risk and, honestly, I didn’t feel it was right putting any Black lives at risk to make some art. It seemed wildly irresponsible, and I’m glad I stood by that decision.”\u003c/p>\n\u003cfigure id=\"attachment_13889265\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/KEQD_Julia_Bullock_Hires_3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bullock has given only a small handful of live performances this year, mostly in front of camera crews without an audience, but she’s been booked and busy with \u003ca href=\"https://juliabullock.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> at places like the Dutch National Opera and UC Berkeley’s Cal Performances. She’s also found a new creative outlet in singing at home, with her husband on piano. The duo has sent videos of their songs to friends and family as a way to connect across distance, and it’s made Bullock think of ways she can continue to express herself until she eventually returns to the stage before a live audience.\u003c/p>\n\u003cp>“The idea of an album now, as a work of art as an independent piece, is something that’s certainly been on my mind in recent months,” she says. “Creating something that speaks to this moment, but also feels timeless in some way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It anyone’s up to the task, it’s her. Bullock’s superpower lies in reaching across centuries and continents, and feeling into the love, yearning and loss at the core of the human experience. During a time of global tragedy, her empathetic, delicate and soulful approach is more necessary than ever to help us make sense of the chaotic year that is 2020.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On my way across the Bay Bridge, I had butterflies in my stomach. Since I’ve barely been anywhere more exciting than the grocery store for most of 2020, the prospect of seeing an up-close performance by a world-class musician—not on Instagram or Zoom!—felt like blood returning to my veins.\u003c/p>\n\u003cp>I was one of the raffle winners of the San Francisco Symphony’s 1:1 Concerts, private, socially-distanced performances with one musician and up to two audience members from the same household. The orchestra piloted the series with donors and volunteers last month, and is now holding them for free once a week through a \u003ca href=\"https://www.sfsymphony.org/OnetoOne\" target=\"_blank\" rel=\"noopener noreferrer\">public lottery\u003c/a>.\u003c/p>\n\u003cp>In the before-times, the image of a masked violinist playing for my boyfriend and I, 30 feet away and in masks, would have looked like a scene from a dystopian sci-fi. But with society’s current state of artistic deprivation, it’s a lifeline. Not to mention, an opportunity. In this pared-down version of concert-going is a chance to experience classical music in a casual, unusually personal setting—the opposite of the pomp and circumstance that typically goes along with a trip to Davies Symphony Hall. [aside postid='arts_13884245']\u003c/p>\n\u003cp>The butterflies kept fluttering as a symphony employee took us up to the concert hall’s courtyard and showed us to our seats, which were under a tent to guard from the midday sun. Waiting there was \u003ca href=\"https://www.sfsymphony.org/Data/Event-Data/Artists/R/Victor-Romasevich\" target=\"_blank\" rel=\"noopener noreferrer\">violinist and violist Victor Romasevich\u003c/a>. He was wearing a T-shirt instead of a tuxedo, and right away I picked up on his Russian accent. We exchanged pleasantries in our shared native language—a moment of connection that would’ve been unlikely, if not impossible, before the strange circumstance of a private concert during a pandemic.\u003c/p>\n\u003cp>[pullquote size=medium]Deprivation has made it clear that moments of in-person connection facilitated by art are precious.[/pullquote]\u003c/p>\n\u003cp>As Romasevich began to play the first notes of Bach’s \u003cem>Cello Suite No. 5\u003c/em> in C minor on viola, it was like being nourished after a long period of starvation. I didn’t mind when someone drove by with speakers pumping lowrider oldies at top volume, or when motorcycles roared past. The dark, brooding melody persisted with the accompaniment of COVID-era San Francisco and all of its social stratification, a strangely poetic moment amid the depressing mess that is 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Afterwards, I asked Romasevich how the pandemic has been affecting him creatively. He seemed to miss this experience as much as I did. “The energy of a live audience is different than playing in a recording studio, but having the two of you, for example, there is a reflection,” he said. “Live music is very special because it has the effect of something happening that instant, that very second. … If the performance is good, it evokes emotions, it evokes reactions from the audience, and you feel it as the musician. It creates that kind of interaction and incredible exchange, and that makes us more creative and makes us more inspired. So we have to adjust.” [aside postid='arts_13884764']\u003c/p>\n\u003cp>This kind of communion, where strangers gathered to feel something in unison, used to be something I took for granted. Deprivation has made it clear that moments of in-person connection facilitated by art are precious.\u003c/p>\n\u003cp>Suddenly, someone yelling on the street interrupted Romasevich’s thoughts. “Something like this will complement the music,” he joked. “Playing with the sirens and the fire engines and all that, it’s a special experience. You learn to play with all kinds of backgrounds.”\u003c/p>\n\u003cp>Like Romasevich said, we all have to adjust. But his concert reminded me that a world without this kind of energy exchange isn’t one that I want to get used to.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Symphony’s 1:1 Concerts are happening weekly. \u003ca href=\"https://www.sfsymphony.org/OnetoOne\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Victor Romasevich performs in a livestreamed concert celebrating composers Iosif and Arshak Andriasov on Aug. 23. \u003ca href=\"https://www.oldfirstconcerts.org/performance/9th-california-andriasov-festival-sunday-august-23-at-4-pm/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On my way across the Bay Bridge, I had butterflies in my stomach. Since I’ve barely been anywhere more exciting than the grocery store for most of 2020, the prospect of seeing an up-close performance by a world-class musician—not on Instagram or Zoom!—felt like blood returning to my veins.\u003c/p>\n\u003cp>I was one of the raffle winners of the San Francisco Symphony’s 1:1 Concerts, private, socially-distanced performances with one musician and up to two audience members from the same household. The orchestra piloted the series with donors and volunteers last month, and is now holding them for free once a week through a \u003ca href=\"https://www.sfsymphony.org/OnetoOne\" target=\"_blank\" rel=\"noopener noreferrer\">public lottery\u003c/a>.\u003c/p>\n\u003cp>In the before-times, the image of a masked violinist playing for my boyfriend and I, 30 feet away and in masks, would have looked like a scene from a dystopian sci-fi. But with society’s current state of artistic deprivation, it’s a lifeline. Not to mention, an opportunity. In this pared-down version of concert-going is a chance to experience classical music in a casual, unusually personal setting—the opposite of the pomp and circumstance that typically goes along with a trip to Davies Symphony Hall. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This kind of communion, where strangers gathered to feel something in unison, used to be something I took for granted. Deprivation has made it clear that moments of in-person connection facilitated by art are precious.\u003c/p>\n\u003cp>Suddenly, someone yelling on the street interrupted Romasevich’s thoughts. “Something like this will complement the music,” he joked. “Playing with the sirens and the fire engines and all that, it’s a special experience. You learn to play with all kinds of backgrounds.”\u003c/p>\n\u003cp>Like Romasevich said, we all have to adjust. But his concert reminded me that a world without this kind of energy exchange isn’t one that I want to get used to.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Symphony’s 1:1 Concerts are happening weekly. \u003ca href=\"https://www.sfsymphony.org/OnetoOne\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Victor Romasevich performs in a livestreamed concert celebrating composers Iosif and Arshak Andriasov on Aug. 23. \u003ca href=\"https://www.oldfirstconcerts.org/performance/9th-california-andriasov-festival-sunday-august-23-at-4-pm/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since large, indoor gatherings won’t be happening for quite some time, musicians are getting creative with how they perform. Salsa and reggae bands are bringing generators and playing in the grass at Oakand’s Lake Merritt, guerrilla style. R&B star Kehlani put on a drive-in concert in Los Angeles. And at the San Francisco Symphony, world-class orchestral musicians are playing for one person at a time in private, six-foot-apart concerts.\u003c/p>\n\u003cp>The Symphony has already put on some of these 1:1 Concerts, as the program is called, for its donors, subscribers, volunteers and community partners, and now they’re opening them to the public. The shows are free, and people can sign up for a chance to attend through the ticket lottery, which opened on July 30.\u003c/p>\n\u003cp>So far, musicians have performed in the outdoor courtyards of Davies Symphony Hall, but the Symphony is looking to expand the series to other locations throughout the city in areas where crowds are unable to form. The 1:1 Concerts will take place every other week through Sept. 3, and additional dates may be added in the fall. Performances last 20-30 minutes, and the musician announces the surprise concert program in person.\u003c/p>\n\u003cp>More information can be found \u003ca href=\"https://www.sfsymphony.org/onetoone\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/NmH4xmY7aYw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Performances by the \u003ca href=\"https://www.sfsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Symphony\u003c/a> and \u003ca href=\"https://sfopera.com/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Opera\u003c/a> have been canceled through the 2020 calendar year, both organizations announced this week. \u003c/p>\n\u003cp>The cancellations come “in accordance with statewide guidelines that live concert performances will not be permitted until the final stage of the reopening process,” said San Francisco Symphony CEO Mark C. Hanson in a statement. “The City of San Francisco and the War Memorial and Performing Arts Center have indicated that all performances in Davies Symphony Hall must be canceled through the end of the calendar year.” \u003c/p>\n\u003cp>The empty stages across from City Hall come at a pivotal time for the Symphony, with the departure of Music Director Michael Tilson Thomas and the on boarding of new director Esa-Pekka Salonen. Due to lost revenue, the Symphony also announced “temporary pay reductions for all employees earning more than $75,000 annually, and a staff restructuring that includes the elimination of some positions and some temporary furloughs of varied duration.”\u003c/p>\n\u003cp>The fall season for SF Opera, also canceled, had been scheduled to include performances of \u003cem>Fidelio, Così fan tutte, The Handmaid’s Tale, Rigoletto\u003c/em> and \u003cem>La Bohème\u003c/em>. The popular Opera in the Park event in October is also canceled. In a statement, General Director Matthew Shilvock called the decision “heartbreaking,” adding that the company looks eagerly to a Spring 2021 season. “The creative urge to share our art with audiences has never been stronger,” Shilvock said. “We will keep the music alive.”\u003c/p>\n\u003cp>Both organizations have online events planned in place of live concerts, including a \u003ca href=\"https://www.kqed.org/arts/13881347/sf-symphony-kicks-off-digital-celebration-of-michael-tilson-thomas-25-year-tenure\" rel=\"noopener noreferrer\" target=\"_blank\">farewell series\u003c/a> for Michael Tilson Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—Gabe Meline (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/p>\n\n",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"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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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"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": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"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",
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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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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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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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"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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},
"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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"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",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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},
"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": {
"site": "news",
"source": "npr"
},
"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": {
"site": "news",
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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