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"content": "\u003cp>Concert cancellations related to the novel coronavirus are leaving thousands of classical musicians in the Bay Area and Northern California with less or no work in the coming weeks, and potentially beyond, in a devastating financial blow to artists who say they already live hand-to-mouth.\u003c/p>\n\u003cp>Bans on mass gatherings in city-owned venues and a spate of cancellations at major and regional classical music presenters—including the San Francisco Symphony, Oakland Symphony, Cal Performances, Stanford Live and a growing list of theater and dance groups that employ musicians—have effectively ground the Bay Area performing arts season to a halt.\u003c/p>\n\u003cp>“When musicians don’t play, they don’t get paid,” said Kale Cumings, president of the San Francisco-based \u003ca href=\"https://afm6.org/\">Musicians Union Local 6\u003c/a>, which represents some 2,000 musicians with 50 \u003cspan style=\"font-weight: 400\">symphony and chamber orchestras and other arts organizations\u003c/span>. “It’s frankly terrifying—we’re at the front end of this, and the effect on our members already looks to be financially catastrophic.”\u003c/p>\n\u003cp>Cumings acknowledged the importance of social distancing in stopping the spread of coronavirus, also known as COVID-19, which has more than 100 confirmed cases in the Bay Area. “We wouldn’t ask musicians to play in unsafe conditions,” Cumings said. “Right now, though, musicians are more concerned about how they’ll afford groceries than contracting the virus.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Event cancellations are affecting musicians in many fields, along with the stagehands and other workers whose unseen labor supports concerts, but classical players are uniquely vulnerable. While institutions such as the San Francisco Symphony offer artists full-time employment, most classical musicians in the region cobble livings from a mix of seasonal contracts and freelance pickup gigs with outfits throughout the Bay Area, a circuit known as the “freeway philharmonic.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Bruce Chrisp, trombonist']‘There’s no safety net. You think you have security when you have as many jobs as I do, because what could go wrong all at once?’[/pullquote]Yet cancellations are so widespread that even seasoned classical musicians who derive income from as many as a dozen orchestras are now exploring unemployment benefits. Bruce Chrisp, principal trombonist with eight orchestras, and a UC Davis faculty member, said the concert cancellations he learned of just this past week alone will cost him an anticipated $7,400.\u003c/p>\n\u003cp>“My projected income right now is zero,” he said. Chrisp said his spouse Gabrielle Wunsch, a freelance violinist with the Oakland and Marin symphonies, is exhibiting flu-like symptoms (the Vallejo Medical Center refused them coronavirus tests), and they’ve now self-quarantined at home in Vallejo—increasing their anxieties about paying $1,100 a month for health insurance.\u003c/p>\n\u003cp>“There’s no safety net,” said Chrisp, a professional musician since 1985. “You think you have security when you have as many jobs as I do, because what could go wrong all at once?”\u003c/p>\n\u003cfigure id=\"attachment_13876570\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OaklandSymphonyOrchestra.jpg\" alt=\"\" width=\"1811\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-1020x676.jpg 1020w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony Orchestra \u003ccite>(Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alicia Mastromonaco, a french horn player with the Marin and Monterey symphonies, also learned this week of cancellations costing her thousands. Mastromonaco, an active American Federation of Musicians member, said the freeway philharmonic community is sharing advice on unemployment and alternative work to prepare for cancellations extending beyond March.\u003c/p>\n\u003cp>Like wildfires and power shut-offs in recent years, Mastromonaco said, coronavirus-related cancellations are being considered \u003cem>force majeure\u003c/em>, or unforeseeable events that prevent orchestras from fulfilling the terms of their contracts with musicians. “It’s a liability for management—no one wants to be the organization that an outbreak traces back to,” she said.\u003c/p>\n\u003cp>In an exception, though, the Monterey Symphony is paying artists for canceled March events in recognition of musicians’ “vulnerable position,” it said in a statement. Opera San Jose, meanwhile, has \u003ca href=\"https://www.operasj.org/a-personal-message-from-gd-khori-dastoor/\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> an artists and musicians relief fund to support workers in the months ahead. Most orchestras are urging patrons to donate tickets in lieu of refunds, a move musicians endorse. “We don’t want these organizations to go bankrupt,” Mastromonaco said.\u003c/p>\n\u003cp>Show-goers who want to support artists in other ways should encourage leadership of performing arts organizations to reschedule spring programming for the summer, Mastromonaco said. “First of all, for me, was the disappointment of not being able to play the music we’ve been preparing,” she said. “Some of us have been suggesting orchestras live-stream the concerts.”\u003c/p>\n\u003cp>Performers, like workers in other sectors of the economy, are also beginning to turn to elected officials for relief. Actors Equity Association, the national labor union representing actors and stage managers in live theater, on Wednesday called on Congress members for relief measures beyond payroll tax cuts to ensure arts workers have access to healthcare and unemployment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The nightlife sector in San Francisco alone employs tens of thousands of people and generates billions of dollars, according to the Controller’s Office, making it a major economic driver. Cumings, the Musicians Union Local 6 president, seconded the call for government relief for performing artists. “The impact will depend on how long the closures last,” he said. “If it goes on much longer the only entity that could offset the effects is going to be the federal government.” \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Concert cancellations related to the novel coronavirus are leaving thousands of classical musicians in the Bay Area and Northern California with less or no work in the coming weeks, and potentially beyond, in a devastating financial blow to artists who say they already live hand-to-mouth.\u003c/p>\n\u003cp>Bans on mass gatherings in city-owned venues and a spate of cancellations at major and regional classical music presenters—including the San Francisco Symphony, Oakland Symphony, Cal Performances, Stanford Live and a growing list of theater and dance groups that employ musicians—have effectively ground the Bay Area performing arts season to a halt.\u003c/p>\n\u003cp>“When musicians don’t play, they don’t get paid,” said Kale Cumings, president of the San Francisco-based \u003ca href=\"https://afm6.org/\">Musicians Union Local 6\u003c/a>, which represents some 2,000 musicians with 50 \u003cspan style=\"font-weight: 400\">symphony and chamber orchestras and other arts organizations\u003c/span>. “It’s frankly terrifying—we’re at the front end of this, and the effect on our members already looks to be financially catastrophic.”\u003c/p>\n\u003cp>Cumings acknowledged the importance of social distancing in stopping the spread of coronavirus, also known as COVID-19, which has more than 100 confirmed cases in the Bay Area. “We wouldn’t ask musicians to play in unsafe conditions,” Cumings said. “Right now, though, musicians are more concerned about how they’ll afford groceries than contracting the virus.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Event cancellations are affecting musicians in many fields, along with the stagehands and other workers whose unseen labor supports concerts, but classical players are uniquely vulnerable. While institutions such as the San Francisco Symphony offer artists full-time employment, most classical musicians in the region cobble livings from a mix of seasonal contracts and freelance pickup gigs with outfits throughout the Bay Area, a circuit known as the “freeway philharmonic.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet cancellations are so widespread that even seasoned classical musicians who derive income from as many as a dozen orchestras are now exploring unemployment benefits. Bruce Chrisp, principal trombonist with eight orchestras, and a UC Davis faculty member, said the concert cancellations he learned of just this past week alone will cost him an anticipated $7,400.\u003c/p>\n\u003cp>“My projected income right now is zero,” he said. Chrisp said his spouse Gabrielle Wunsch, a freelance violinist with the Oakland and Marin symphonies, is exhibiting flu-like symptoms (the Vallejo Medical Center refused them coronavirus tests), and they’ve now self-quarantined at home in Vallejo—increasing their anxieties about paying $1,100 a month for health insurance.\u003c/p>\n\u003cp>“There’s no safety net,” said Chrisp, a professional musician since 1985. “You think you have security when you have as many jobs as I do, because what could go wrong all at once?”\u003c/p>\n\u003cfigure id=\"attachment_13876570\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/OaklandSymphonyOrchestra.jpg\" alt=\"\" width=\"1811\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/OaklandSymphonyOrchestra-1020x676.jpg 1020w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony Orchestra \u003ccite>(Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alicia Mastromonaco, a french horn player with the Marin and Monterey symphonies, also learned this week of cancellations costing her thousands. Mastromonaco, an active American Federation of Musicians member, said the freeway philharmonic community is sharing advice on unemployment and alternative work to prepare for cancellations extending beyond March.\u003c/p>\n\u003cp>Like wildfires and power shut-offs in recent years, Mastromonaco said, coronavirus-related cancellations are being considered \u003cem>force majeure\u003c/em>, or unforeseeable events that prevent orchestras from fulfilling the terms of their contracts with musicians. “It’s a liability for management—no one wants to be the organization that an outbreak traces back to,” she said.\u003c/p>\n\u003cp>In an exception, though, the Monterey Symphony is paying artists for canceled March events in recognition of musicians’ “vulnerable position,” it said in a statement. Opera San Jose, meanwhile, has \u003ca href=\"https://www.operasj.org/a-personal-message-from-gd-khori-dastoor/\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> an artists and musicians relief fund to support workers in the months ahead. Most orchestras are urging patrons to donate tickets in lieu of refunds, a move musicians endorse. “We don’t want these organizations to go bankrupt,” Mastromonaco said.\u003c/p>\n\u003cp>Show-goers who want to support artists in other ways should encourage leadership of performing arts organizations to reschedule spring programming for the summer, Mastromonaco said. “First of all, for me, was the disappointment of not being able to play the music we’ve been preparing,” she said. “Some of us have been suggesting orchestras live-stream the concerts.”\u003c/p>\n\u003cp>Performers, like workers in other sectors of the economy, are also beginning to turn to elected officials for relief. Actors Equity Association, the national labor union representing actors and stage managers in live theater, on Wednesday called on Congress members for relief measures beyond payroll tax cuts to ensure arts workers have access to healthcare and unemployment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The nightlife sector in San Francisco alone employs tens of thousands of people and generates billions of dollars, according to the Controller’s Office, making it a major economic driver. Cumings, the Musicians Union Local 6 president, seconded the call for government relief for performing artists. “The impact will depend on how long the closures last,” he said. “If it goes on much longer the only entity that could offset the effects is going to be the federal government.” \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Sam Lefebvre, Rae Alexandra and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>‘Get Out’ with Live Score\u003c/strong>: The San Francisco Symphony performs a live score alongside a screening of \u003cem>Get Out\u003c/em> on the night before Halloween, and it’s basically the perfect way to get through a movie that is so damn stressful. When Rae saw \u003cem>Get Out\u003c/em> in a movie theater, the crowd was literally screaming at the screen for half the film, so, if nothing else, it might be an interesting night for the musicians. That’s on Wednesday, Oct. 30, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out.aspx\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>‘SOFT POWER’\u003c/strong>: The phrase “soft power” appeared in the Reagan era; it’s the idea that if you’re a country, instead of exerting power through threats or payments, you can attract and co-opt people through “soft” assets like culture, values and policies. SFMOMA co-opts this phrase for an impressive group show—the first from their new contemporary curatorial department—gathering artists who examine their roles as citizens and social actors. There’s a whole bunch of new commissions, an exciting change of pace in a museum often faulted for its static presentations of more canonical modernist art. \u003cem>SOFT POWER\u003c/em> opens Saturday, Oct. 26, at SFMOMA in San Francisco. \u003ca href=\"https://www.kqed.org/arts/13868797/soft-power-sfmoma-review\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tompkins Square Anniversary\u003c/strong>: The San Francisco label Tompkins Square is known in part for acoustic guitar stylists of the past and present, many of them working in the generally fingerpicked, so-called American primitive guitar tradition of figures like John Fahey. On Friday, the label celebrates its 14th anniversary with a show featuring two guitarists, Kinloch Nelson and Kendra Amalie. Tompkins Square recently released a collection of Nelson’s late 1960s recordings, as well as a new volume of its \u003cem>Imaginational Anthem\u003c/em> compilation featuring Amalie, a contemporary singer-songwriter. This is a fittingly small, intimate setting for the music. That’s on Friday, Oct. 25, at the Lost Church in San Francisco. \u003ca href=\"https://www.facebook.com/events/the-lost-church-san-francisco/tompkins-square-label-14th-anniversary-concert/722440604847436/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DogFest Bay Area\u003c/strong>: What do you get when you mix dogs and costumes? DogFest Bay Area, a Halloween-themed festival celebrating the adorable doggos around us. There’s plenty of treats for both humans and animals, and it raises money for Canine Companions for Independence. Family-friendly and with a costume contest, it’s a totally free event, and there’s also great places around Jack London to sit, eat and dog-watch if you want to make a whole day of it. That’s on Saturday, Oct. 26, at Jack London Square in Oakland. \u003ca href=\"https://secure.cci.org/site/TR;jsessionid=00000000.app334b?fr_id=1691&pg=entry&NONCE_TOKEN=FDAEED280A9B0342D111E7C91C273613\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Nosferatu’ With Live Organ\u003c/strong>: On Halloween night, Dorothy Papadakos sits at Grace Cathedral’s giant pipe organ to accompany two movies from the silent film era: \u003cem>Nosferatu\u003c/em> (10pm) and \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (7pm). We’re talking two bonafide early horror movie classics—how can you not love Max Schreck as Nosferatu? But the setting here is the thing: there are 7,466 pipes in the Grace Cathedral organ, and combined with the cathedral’s famous high ceilings, causing a seven-second echo, it’s truly going to be a sight and sound to behold. That’s on Thursday, Oct. 31, at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dr-jekyll-mr-hyde-dorothy-papadakos/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Los Angeles composer \u003ca href=\"https://adamschoenberg.com/\" target=\"_blank\" rel=\"noopener\">Adam Schoenberg\u003c/a> was on his way to a meeting with the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> to discuss a potential orchestral commission when he came across a magazine article about climate change, and immediately knew what his new musical work would be about.\u003c/p>\n\u003cp>“Despite the article’s main focus—the decade from 1979-1989 when we almost solved the global warming crisis—it still paints a grim future,” Schoenberg says of “\u003ca href=\"https://www.nytimes.com/interactive/2018/08/01/magazine/climate-change-losing-earth.html\" target=\"_blank\" rel=\"noopener\">Losing Earth: The Decade We Almost Stopped Climate Change\u003c/a>,” published in \u003cem>The New York Times Magazine\u003c/em> in August 2018. “Being a father of two young boys, I couldn’t help but wonder if my children would be able to survive the long term effects of global warming.”\u003c/p>\n\u003cp>The composer’s new concerto for solo percussion and orchestra, titled \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Pictures-Percussion.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>Losing Earth\u003c/em>\u003c/a> after the magazine article, employs the apocalyptic and ancient sounds of drums, vibraphones and other whackable and scrapable instruments to convey the instability of our megastorm-wildfire-and-flood-plagued planet, as well as a sense of urgency around human actions going forward.\u003c/p>\n\u003cp>“Since drums are the oldest instrument known to mankind besides the human voice, it felt natural to create a narrative that captured the state of our ever-changing planet using percussion,” Schoenberg says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet the SFS Musicians: Principal Percussionist Jacob Nissly\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/AIXsOiZnYz0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Divided into three sections, the concerto stars Jacob Nissly, the symphony’s principal percussionist and a longtime friend of the composer, in the solo role. Nissly says he will be ranging around the Davies Symphony Hall auditorium playing an array of different instruments during the course of the unusual, 23-minute piece.\u003c/p>\n\u003cp>“The solo part will at times be the melody, at times the rhythmic motor, and at other times simply a supporting texture and effect,” Nissly says. The percussionist, who has played the solo part in a couple of concertos with the San Francisco Symphony’s \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> series in recent years, is particularly excited about the middle section of \u003cem>Losing Earth\u003c/em>. He says it stands in stark contrast to the piece’s booming, cataclysmic opening.\u003c/p>\n\u003cp>“It showcases some of the aspects of percussion that don’t always come to the forefront,” Nissly says. “Namely the soft, quiet, and sensitive capabilities.”\u003c/p>\n\u003cp>The Oct. 17-19 concerts are conducted by Cristian Macelaru. Also featured on the program is the symphonic poem D’un matin de printemps by the early 20th century French composer Lili Boulanger, and Maurice Ravel’s 1922 orchestration of the 19th century Russian composer Modest Mussorgsky’s beloved orchestral suite \u003cem>Pictures at an Exhibition\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles composer \u003ca href=\"https://adamschoenberg.com/\" target=\"_blank\" rel=\"noopener\">Adam Schoenberg\u003c/a> was on his way to a meeting with the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> to discuss a potential orchestral commission when he came across a magazine article about climate change, and immediately knew what his new musical work would be about.\u003c/p>\n\u003cp>“Despite the article’s main focus—the decade from 1979-1989 when we almost solved the global warming crisis—it still paints a grim future,” Schoenberg says of “\u003ca href=\"https://www.nytimes.com/interactive/2018/08/01/magazine/climate-change-losing-earth.html\" target=\"_blank\" rel=\"noopener\">Losing Earth: The Decade We Almost Stopped Climate Change\u003c/a>,” published in \u003cem>The New York Times Magazine\u003c/em> in August 2018. “Being a father of two young boys, I couldn’t help but wonder if my children would be able to survive the long term effects of global warming.”\u003c/p>\n\u003cp>The composer’s new concerto for solo percussion and orchestra, titled \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Pictures-Percussion.aspx\" target=\"_blank\" rel=\"noopener\">\u003cem>Losing Earth\u003c/em>\u003c/a> after the magazine article, employs the apocalyptic and ancient sounds of drums, vibraphones and other whackable and scrapable instruments to convey the instability of our megastorm-wildfire-and-flood-plagued planet, as well as a sense of urgency around human actions going forward.\u003c/p>\n\u003cp>“Since drums are the oldest instrument known to mankind besides the human voice, it felt natural to create a narrative that captured the state of our ever-changing planet using percussion,” Schoenberg says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet the SFS Musicians: Principal Percussionist Jacob Nissly\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/AIXsOiZnYz0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Divided into three sections, the concerto stars Jacob Nissly, the symphony’s principal percussionist and a longtime friend of the composer, in the solo role. Nissly says he will be ranging around the Davies Symphony Hall auditorium playing an array of different instruments during the course of the unusual, 23-minute piece.\u003c/p>\n\u003cp>“The solo part will at times be the melody, at times the rhythmic motor, and at other times simply a supporting texture and effect,” Nissly says. The percussionist, who has played the solo part in a couple of concertos with the San Francisco Symphony’s \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> series in recent years, is particularly excited about the middle section of \u003cem>Losing Earth\u003c/em>. He says it stands in stark contrast to the piece’s booming, cataclysmic opening.\u003c/p>\n\u003cp>“It showcases some of the aspects of percussion that don’t always come to the forefront,” Nissly says. “Namely the soft, quiet, and sensitive capabilities.”\u003c/p>\n\u003cp>The Oct. 17-19 concerts are conducted by Cristian Macelaru. Also featured on the program is the symphonic poem D’un matin de printemps by the early 20th century French composer Lili Boulanger, and Maurice Ravel’s 1922 orchestration of the 19th century Russian composer Modest Mussorgsky’s beloved orchestral suite \u003cem>Pictures at an Exhibition\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DzfpyUB60YY\u003c/p>\n\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\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/DzfpyUB60YY'\n title='//www.youtube.com/embed/DzfpyUB60YY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. [aside postid='arts_13864717']\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. [aside postid='arts_13861650']\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"headTitle": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
"content": "\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n",
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"excerpt": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
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"description": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
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"headline": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"datePublished": "2019-08-28T12:32:19-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Elio and Oliver are back! That’s right, your favorite 1980s will-they-won’t-they couple of sun-drenched Italian summer fame return to the silver screen—and this time, with a live score.\u003c/p>\n\u003cp>For a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Call-Me-by-Your-Name-%E2%80%93-Feature-Film-with-the.aspx?utm_medium=cpc&utm_source=BayTimes&utm_campaign=CMBYN&utm_content=ROS_660x1500\" target=\"_blank\" rel=\"noopener\">special presentation\u003c/a> of \u003ci>Call Me By Your Name\u003c/i> at Davies Symphony Hall on June 18, the SF Symphony performs Sufjan Stevens’ sumptuous score live. It’s a fitting complement—a full orchestra, that is—to the opulence and warmth depicted in the film, which is, at its core, a heartfelt coming-of-age story (that just happened to launch a million fan sites about Timothée Chalamet).\u003c/p>\n\u003cp>(If you have no idea what I’m talking about, perhaps it’s time to see this dang thing, which won James Ivory a best adapted screenplay Oscar at the 2018 awards.)\u003c/p>\n\u003cp>Tickets are already on sale, ranging in price from $35 to $155, depending on your seat. So why wait at home, crying into your crackling fireplace, when you can relive someone else’s first love?\u003c/p>\n\u003cp>In the meantime, may I highly recommend the \u003ca href=\"https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer\" target=\"_blank\" rel=\"noopener\">audiobook\u003c/a> of André Aciman’s novel, upon which Luca Guadagnino’s film is based. It’s narrated by Armie Hammer. I don’t think I need to say more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elio and Oliver are back! That’s right, your favorite 1980s will-they-won’t-they couple of sun-drenched Italian summer fame return to the silver screen—and this time, with a live score.\u003c/p>\n\u003cp>For a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Call-Me-by-Your-Name-%E2%80%93-Feature-Film-with-the.aspx?utm_medium=cpc&utm_source=BayTimes&utm_campaign=CMBYN&utm_content=ROS_660x1500\" target=\"_blank\" rel=\"noopener\">special presentation\u003c/a> of \u003ci>Call Me By Your Name\u003c/i> at Davies Symphony Hall on June 18, the SF Symphony performs Sufjan Stevens’ sumptuous score live. It’s a fitting complement—a full orchestra, that is—to the opulence and warmth depicted in the film, which is, at its core, a heartfelt coming-of-age story (that just happened to launch a million fan sites about Timothée Chalamet).\u003c/p>\n\u003cp>(If you have no idea what I’m talking about, perhaps it’s time to see this dang thing, which won James Ivory a best adapted screenplay Oscar at the 2018 awards.)\u003c/p>\n\u003cp>Tickets are already on sale, ranging in price from $35 to $155, depending on your seat. So why wait at home, crying into your crackling fireplace, when you can relive someone else’s first love?\u003c/p>\n\u003cp>In the meantime, may I highly recommend the \u003ca href=\"https://soundcloud.com/macaudio-2/call-me-by-your-name-by-andre-aciman-read-by-armie-hammer\" target=\"_blank\" rel=\"noopener\">audiobook\u003c/a> of André Aciman’s novel, upon which Luca Guadagnino’s film is based. It’s narrated by Armie Hammer. I don’t think I need to say more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Acclaimed Mariachi Vargas Celebrate Cinco de Mayo at Davies Symphony Hall",
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"content": "\u003cp>Mariachi Vargas have been a band for over 100 years, with five generations of musicians representing the southern Mexican town of Tecalitlan. Considered keepers of traditional Mexican music, they’ve appeared in over 200 films and 50 recordings, performed at the Latin Grammys and traveled the world. In fact, many consider them the world’s best mariachi ensemble.\u003c/p>\n\u003cp>On May 5, Mariachi Vargas will be in San Francisco to celebrate Cinco de Mayo with their debut concert at Davies Symphony Hall, the home of the San Francisco Symphony. With Carlos Martinez as creative director, the band features two harps, one vihuela, one guitar, one guitarron, two trumpets and six violins. While the San Francisco Symphony will not be joining them for this show, Mariachi Vargas’ stellar \u003cem>sones, \u003c/em>classical works and popular hits will be a treat to hear over the prestigious concert hall’s sound system.\u003c/p>\n\u003cp>Details for concert can be found \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/mariachivargas.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/sF-9ItYRq4U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In 1999, the San Francisco Symphony and Metallica made history with \u003cem>S&M\u003c/em>, a series of concerts at the Berkeley Community Theatre that become a Grammy-winning live album.\u003c/p>\n\u003cp>On Sept. 6, the two Bay Area music giants will join forces once again for \u003cem>S&M2\u003c/em>, the inaugural event at San Francisco’s new Chase Center, which will soon become the home of the Golden State Warriors. The one-off concert celebrates the live album’s 20th anniversary, with Edwin Outwater as conductor and a specially appearance from San Francisco Symphony music director Michael Tilson Thomas.\u003c/p>\n\u003cp>The collaboration was announced today as part of Reveal Week, the first look at the events coming to the 18,064-capacity arena.\u003c/p>\n\u003cp>Presale tickets for \u003cem>S&M2\u003c/em> go on sale for Metallica \u003ca href=\"https://www.metallica.com/metclub/\" target=\"_blank\" rel=\"noopener\">fan club members\u003c/a> on March 19 at 9am, and for \u003ca href=\"http://chasecenter.com/event/1\" target=\"_blank\" rel=\"noopener\">Chase cardholders\u003c/a> at noon. They’ll become available to the \u003ca href=\"http://chasecenter.com\" target=\"_blank\" rel=\"noopener\">general public\u003c/a> on March 22 at 10am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BJt1rdFZXlY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"soldout": {
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