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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This week, the \u003ca href=\"http://sfsymphony.org\">San Francisco Symphony\u003c/a> announced the retirement of Michael Tilson Thomas after 25 years as music director. \u003c/span>\u003c/p>\n\u003cp>Tilson Thomas is best known for his championing of the works of the Austrian composer Gustav Mahler, including a series of Grammy Award-winning recordings.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/MTTRetiringVeltman171102.mp3\" /]\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/MichaelTilsonThomasRetire.mp3\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Michael Tilson Thomas, the well-loved conductor of the San Francisco Symphony, will \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-Announcement.aspx\" rel=\"noopener\" target=\"_blank\">step down\u003c/a> from his role as Music Director in 2020, the Symphony announced Tuesday.\u003c/p>\n\u003cp>Tilson Thomas has been in the role since 1995, when he came to San Francisco as a respected figure in the classical music world with determination to present new works, fresh ideas for the concert experience, and an unwavering love of Mahler. All have helped define his tenure in San Francisco, which reads as a long list of awards, accolades, and achievements. \u003c/p>\n\u003cp>With over two dozen U.S. and international tours, and 44 releases on the symphony’s own record label, Tilson Thomas brought the music of the Symphony to a global audience. He also doggedly presented the music of 20th Century composers with the \u003cem>American Mavericks\u003c/em> series, and regularly worked alongside emerging composers in the Bay Area and beyond to perform new works.\u003c/p>\n\u003cfigure id=\"attachment_10217079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg\" alt=\"Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10217079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Looking back over these decades I am filled with gratitude for the extraordinary artistic partnership I have had with the members of the orchestra and for the warm and generous style of music making we have shared with all of our audiences,” Tilson Thomas said in a statement. “Having been a Music Director of an orchestra for most of my adult life and as I approach my 75th birthday, I feel this is an appropriate moment to set aside some of my administrative responsibilities and begin a new period of creative possibilities.”\u003c/p>\n\u003cp>In the past three years, Tilson Thomas celebrated his 70th birthday, as well as his 20th year at the Symphony. He also presided over the opening of SoundBox, the nightclub-esque series in a rehearsal room at Davies Symphony Hall that has proved a runaway success with younger audiences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After 2020, Tilson Thomas will transition to Music Director Laureate of the Symphony, conducting the orchestra for at least four weeks each season. \u003c/p>\n\u003cp>“Michael Tilson Thomas embodies the personality and the spirit of San Francisco,” said Sakurako Fisher, President of the San Francisco Symphony, in a statement. “Striving for excellence in all that he does, creative and curious in nature, inclusive of all, and adventurous in his thinking.”\u003c/p>\n\u003cp>A new Music Director for the Symphony has not been announced, although guest conductors who appear during the upcoming seasons may be eyed as potential candidates — no doubt with large shoes to fill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas, the well-loved conductor of the San Francisco Symphony, will \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-Announcement.aspx\" rel=\"noopener\" target=\"_blank\">step down\u003c/a> from his role as Music Director in 2020, the Symphony announced Tuesday.\u003c/p>\n\u003cp>Tilson Thomas has been in the role since 1995, when he came to San Francisco as a respected figure in the classical music world with determination to present new works, fresh ideas for the concert experience, and an unwavering love of Mahler. All have helped define his tenure in San Francisco, which reads as a long list of awards, accolades, and achievements. \u003c/p>\n\u003cp>With over two dozen U.S. and international tours, and 44 releases on the symphony’s own record label, Tilson Thomas brought the music of the Symphony to a global audience. He also doggedly presented the music of 20th Century composers with the \u003cem>American Mavericks\u003c/em> series, and regularly worked alongside emerging composers in the Bay Area and beyond to perform new works.\u003c/p>\n\u003cfigure id=\"attachment_10217079\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg\" alt=\"Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10217079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/SoundBox.Hed_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas surveys the crowd before introducing the premiere of SoundBox in 2014. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Looking back over these decades I am filled with gratitude for the extraordinary artistic partnership I have had with the members of the orchestra and for the warm and generous style of music making we have shared with all of our audiences,” Tilson Thomas said in a statement. “Having been a Music Director of an orchestra for most of my adult life and as I approach my 75th birthday, I feel this is an appropriate moment to set aside some of my administrative responsibilities and begin a new period of creative possibilities.”\u003c/p>\n\u003cp>In the past three years, Tilson Thomas celebrated his 70th birthday, as well as his 20th year at the Symphony. He also presided over the opening of SoundBox, the nightclub-esque series in a rehearsal room at Davies Symphony Hall that has proved a runaway success with younger audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After 2020, Tilson Thomas will transition to Music Director Laureate of the Symphony, conducting the orchestra for at least four weeks each season. \u003c/p>\n\u003cp>“Michael Tilson Thomas embodies the personality and the spirit of San Francisco,” said Sakurako Fisher, President of the San Francisco Symphony, in a statement. “Striving for excellence in all that he does, creative and curious in nature, inclusive of all, and adventurous in his thinking.”\u003c/p>\n\u003cp>A new Music Director for the Symphony has not been announced, although guest conductors who appear during the upcoming seasons may be eyed as potential candidates — no doubt with large shoes to fill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hector Berlioz’s \u003cem>Symphonie Fantastique\u003c/em> is a kind of frenzied valentine to an Irish actress he’d fallen in love with. Brokenhearted at the way she ignored his letters, he took a hefty dose of opium, and the music displays the brilliance of his passion and his opiated delirium. It’s performed by the San Francisco Symphony on \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" rel=\"noopener\" target=\"_blank\">Sept. 28, 30, and Oct. 1 at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>As my co-host Matias Tarnopolsky notes, SF Symphony Music Director Michael Tilson Thomas has conducted this psychedelic love song since his days leading the London Symphony Orchestra, and he knows just how to make it hum (and he knows how to talk about it, as he often does from the podium, and in his PBS \u003cem>Keeping Score \u003c/em>TV\u003cem> \u003c/em>series below). And about that frenzied valentine? Six years after Berlioz composed \u003cem>Symphonie Fantastique\u003c/em>, he married the object of his desire, Irish actress Harriet Smithson. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M3uCkVIGa2U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hector Berlioz’s \u003cem>Symphonie Fantastique\u003c/em> is a kind of frenzied valentine to an Irish actress he’d fallen in love with. Brokenhearted at the way she ignored his letters, he took a hefty dose of opium, and the music displays the brilliance of his passion and his opiated delirium. It’s performed by the San Francisco Symphony on \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" rel=\"noopener\" target=\"_blank\">Sept. 28, 30, and Oct. 1 at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>As my co-host Matias Tarnopolsky notes, SF Symphony Music Director Michael Tilson Thomas has conducted this psychedelic love song since his days leading the London Symphony Orchestra, and he knows just how to make it hum (and he knows how to talk about it, as he often does from the podium, and in his PBS \u003cem>Keeping Score \u003c/em>TV\u003cem> \u003c/em>series below). And about that frenzied valentine? Six years after Berlioz composed \u003cem>Symphonie Fantastique\u003c/em>, he married the object of his desire, Irish actress Harriet Smithson. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Symphonie-fantastique\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M3uCkVIGa2U'\n title='//www.youtube.com/embed/M3uCkVIGa2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
"headTitle": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
"content": "\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Our music editor's recommendations for your concert calendar this fall. ",
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"description": "Our music editor's recommendations for your concert calendar this fall. ",
"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
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"headline": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\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>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Soundbox's Timely 'Rebel' Concert Celebrates a Legacy of Resistance",
"headTitle": "Soundbox’s Timely ‘Rebel’ Concert Celebrates a Legacy of Resistance | KQED",
"content": "\u003cp>In a just world, one in which fame was proportionate to talent, Davóne Tines would be as big as Kanye.\u003c/p>\n\u003cp>In the world we live in — the one where live classical music and its patrons exist in a different orbit entirely from that of rock, pop, hip-hop and even jazz — he’s an alarmingly charismatic bass-baritone, a bright young star of the opera scene, one whose delivery draws clearly from the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">soulful church music on which he was raised\u003c/a>.\u003c/p>\n\u003cp>I didn’t know his name before last night. And if the San Francisco Symphony hadn’t created \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">Soundbox, a two-year-old experiment that blends the atmosphere of a nightclub with classical performance and visual art installations\u003c/a> for a show curated around a different theme every month, performed over one weekend in a small, warehouse-like room abutting Davies Symphony Hall, I might never have known it.\u003c/p>\n\u003cfigure id=\"attachment_12925684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg\" alt=\"Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017. \u003ccite>(Jessie Huntsman / Courtesy of the SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which also means I wouldn’t have experienced the moment Friday night, March 17, when Tines traced a slow lap through the audience, scanning the room as he reached deep into the bottom of his impressive register and emerged with such a powerful performance of Caroline Shaw’s “I’ll Fly Away” that the hair on my arms stood on end for a full five minutes. This man sings the way Olympic gymnasts tumble — \u003cem>How is that body doing that?\u003c/em> \u003cem>Why do I want to laugh and also cry?\u003c/em> He sings like there are stakes to every syllable. “Captivating” doesn’t begin to describe it.\u003c/p>\n\u003cp>That moment was just one of at least a dozen at Soundbox that exceeded any expectations I had for the evening. I am, to be sure, the audience member for whom Soundbox was created: young, city-dwelling, supportive of the arts in theory but in practice, perpetually broke and, relatedly, not prone to buying symphony tickets. Whether or not Soundbox has been a success in this capacity — as a “gateway” classical music drug of sorts, to eventually get young people hooked on the seated, cocktail-less performances in the building next door — will be determined over time. But the show’s popularity speaks for itself: performances tend to sell out about 20 minutes after tickets go on sale. Lining up at the entrance earlier that night, we’d overheard two under-21 attendees trying to figure out how to sneak in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The theme for this evening was \u003cem>Rebel\u003c/em>, and the programming, curated by SFS Resident Conductor Christian Reif, was divided into three geographic regions: broadly, composers from Germany, Russia and the U.S. whose work responded to oppression or censorship.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg\" alt=\"_06A2275\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Over the course of 90 minutes, with audience members lounging on couches or at bar tables, many of them wearing jeans and sneakers, nearly everyone sipping a cocktail or beer, music and video projections transformed the room into the Weimar Republic, then into Soviet Russia, and then again into contemporary America. Three different short stages — one of them square in the middle of the crowd — kept redirecting our attention around the room as groups of SFS players as small as two or as big as 20 performed, essentially, in our faces. It was intimate to say the least. In some cases (like when violinist Dan Carlson’s performance of the final movement of Hartmann’s \u003ci>Concerto funebre \u003c/i>left me half-expecting to see smoke rising from his instrument) the closeness was exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_12925687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg\" alt=\"Violinist Dan Carlson\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Violinist Dan Carlson \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transported to Russia, we were soon in the hands of Shostakovich, a composer who lived something of a double life: forced to compose songs that served as propaganda for the Soviet government, he also quietly produced caustic work that’s now read as satire. Soprano Catherine Cook sang while Rief accompanied her at the piano for \u003cem>Satiri\u003c/em>, a piece full of bitter humor that Shostokovich apparently wrote as he was anticipating forced membership into the Communist Party.\u003c/p>\n\u003cfigure id=\"attachment_12925893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg\" alt=\"Catherine Cook\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Catherine Cook \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists have been feared by tyrants, because they speak the truth,” said Reif during a brief break between music. “You can get rid of people, but you can’t get rid of art.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, the most poignant notes of the evening arrived in its final third: when we, as an audience sipping $13 cocktails on a Friday night, were asked to consider the United States’ own history of discrimination, oppression and abuse. If Tines stole the show on that spiritual, the two other pieces were close behind: Selections from \u003cem>Black Angels, \u003c/em>the avant-garde composer George Crumb’s response to the Vietnam War, conjured demons even without the dark video projections.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg\" alt=\"IMG_4940\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>And the excerpt from Julius Eastman’s emotional, minimalist \u003cem>Gay Guerilla\u003c/em> — which SFS Associate Director of Artistic Planning Richard Londsdorf casually told me after the show had required some interesting translations, it had never been performed with a symphony before — was rendered all the more moving by an introduction in which Reif explained that Eastman, a gay black composer, had died alone and homeless, his work receiving most of its acclaim after his death.\u003c/p>\n\u003cp>By the time the video screens projected images of the American flag around us during Jessie Montgomery’s \u003cem>Banner\u003c/em>, it was impossible to see it not as a sign of pride or patriotism but as a question, a reminder of the crossroads at which we currently find ourselves as Americans. Given the examples we’d just borne witness to — the weight of history, the potential outcomes from fascist regimes — where do we go from here? What kind of country do we want to be? When the protest songs of 2017 are performed 100 years from now, will they be tinged, as songs from Nazi Germany are, with futility?\u003c/p>\n\u003cfigure id=\"attachment_12925689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg\" alt=\"Christian Reif addresses the audience\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Reif addresses the audience. \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously the theme is timely,” the German-born Reif told me a few minutes after the show’s conclusion, as he and several performers, including Tines, mingled with audience members. “But I think artists have always had ways of speaking the truth about what’s happening around them, maybe ways [other people] can’t.” Finding examples of this throughout history, he said, wasn’t difficult.\u003c/p>\n\u003cp>People were beginning to trickle out then, and a playlist of classic anti-war songs (Creedence Clearwater Revival at the symphony, anyone?) was briefly interrupted by a police siren from the street outside. Outside, it was St. Patrick’s Day in 2017 in America, and the bars downtown were filled to the brim with Irish whiskey-swilling humans, many of them likely doing their best to forget the present. It’s an understandable desire.\u003c/p>\n\u003cp>But I also left Soundbox with an oddly calm sense of power, of context: a feeling in my bones that these waters aren’t uncharted. It is both terrifying and reassuring that the human race has been here before. And at every point in history, from pretty much every corner of the globe, artists have left behind important lessons for us, not-so-secret gems of notes for this very purpose — songs as messages in bottles, if you will. We just have to decide, really, to listen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next Soundbox takes place April 14 and 15, curated by SFS trombonist Tim Higgins. \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Tickets ($45) go on sale Monday, March 20 at 10am; more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The weekend's edition of the SF Symphony's monthly classical-music-in-a-nightclub experiment included powerful performances -- and a world history lesson on art as a form of protest. ",
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"title": "Soundbox's Timely 'Rebel' Concert Celebrates a Legacy of Resistance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a just world, one in which fame was proportionate to talent, Davóne Tines would be as big as Kanye.\u003c/p>\n\u003cp>In the world we live in — the one where live classical music and its patrons exist in a different orbit entirely from that of rock, pop, hip-hop and even jazz — he’s an alarmingly charismatic bass-baritone, a bright young star of the opera scene, one whose delivery draws clearly from the \u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">soulful church music on which he was raised\u003c/a>.\u003c/p>\n\u003cp>I didn’t know his name before last night. And if the San Francisco Symphony hadn’t created \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">Soundbox, a two-year-old experiment that blends the atmosphere of a nightclub with classical performance and visual art installations\u003c/a> for a show curated around a different theme every month, performed over one weekend in a small, warehouse-like room abutting Davies Symphony Hall, I might never have known it.\u003c/p>\n\u003cfigure id=\"attachment_12925684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg\" alt=\"Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2243.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif conducts members of the San Francisco Symphony at Soundbox on March 17, 2017. \u003ccite>(Jessie Huntsman / Courtesy of the SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which also means I wouldn’t have experienced the moment Friday night, March 17, when Tines traced a slow lap through the audience, scanning the room as he reached deep into the bottom of his impressive register and emerged with such a powerful performance of Caroline Shaw’s “I’ll Fly Away” that the hair on my arms stood on end for a full five minutes. This man sings the way Olympic gymnasts tumble — \u003cem>How is that body doing that?\u003c/em> \u003cem>Why do I want to laugh and also cry?\u003c/em> He sings like there are stakes to every syllable. “Captivating” doesn’t begin to describe it.\u003c/p>\n\u003cp>That moment was just one of at least a dozen at Soundbox that exceeded any expectations I had for the evening. I am, to be sure, the audience member for whom Soundbox was created: young, city-dwelling, supportive of the arts in theory but in practice, perpetually broke and, relatedly, not prone to buying symphony tickets. Whether or not Soundbox has been a success in this capacity — as a “gateway” classical music drug of sorts, to eventually get young people hooked on the seated, cocktail-less performances in the building next door — will be determined over time. But the show’s popularity speaks for itself: performances tend to sell out about 20 minutes after tickets go on sale. Lining up at the entrance earlier that night, we’d overheard two under-21 attendees trying to figure out how to sneak in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The theme for this evening was \u003cem>Rebel\u003c/em>, and the programming, curated by SFS Resident Conductor Christian Reif, was divided into three geographic regions: broadly, composers from Germany, Russia and the U.S. whose work responded to oppression or censorship.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925690\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg\" alt=\"_06A2275\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2275.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Over the course of 90 minutes, with audience members lounging on couches or at bar tables, many of them wearing jeans and sneakers, nearly everyone sipping a cocktail or beer, music and video projections transformed the room into the Weimar Republic, then into Soviet Russia, and then again into contemporary America. Three different short stages — one of them square in the middle of the crowd — kept redirecting our attention around the room as groups of SFS players as small as two or as big as 20 performed, essentially, in our faces. It was intimate to say the least. In some cases (like when violinist Dan Carlson’s performance of the final movement of Hartmann’s \u003ci>Concerto funebre \u003c/i>left me half-expecting to see smoke rising from his instrument) the closeness was exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_12925687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg\" alt=\"Violinist Dan Carlson\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2260.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Violinist Dan Carlson \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transported to Russia, we were soon in the hands of Shostakovich, a composer who lived something of a double life: forced to compose songs that served as propaganda for the Soviet government, he also quietly produced caustic work that’s now read as satire. Soprano Catherine Cook sang while Rief accompanied her at the piano for \u003cem>Satiri\u003c/em>, a piece full of bitter humor that Shostokovich apparently wrote as he was anticipating forced membership into the Communist Party.\u003c/p>\n\u003cfigure id=\"attachment_12925893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg\" alt=\"Catherine Cook\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4932.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Catherine Cook \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists have been feared by tyrants, because they speak the truth,” said Reif during a brief break between music. “You can get rid of people, but you can’t get rid of art.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, the most poignant notes of the evening arrived in its final third: when we, as an audience sipping $13 cocktails on a Friday night, were asked to consider the United States’ own history of discrimination, oppression and abuse. If Tines stole the show on that spiritual, the two other pieces were close behind: Selections from \u003cem>Black Angels, \u003c/em>the avant-garde composer George Crumb’s response to the Vietnam War, conjured demons even without the dark video projections.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12925688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg\" alt=\"IMG_4940\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/IMG_4940.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>And the excerpt from Julius Eastman’s emotional, minimalist \u003cem>Gay Guerilla\u003c/em> — which SFS Associate Director of Artistic Planning Richard Londsdorf casually told me after the show had required some interesting translations, it had never been performed with a symphony before — was rendered all the more moving by an introduction in which Reif explained that Eastman, a gay black composer, had died alone and homeless, his work receiving most of its acclaim after his death.\u003c/p>\n\u003cp>By the time the video screens projected images of the American flag around us during Jessie Montgomery’s \u003cem>Banner\u003c/em>, it was impossible to see it not as a sign of pride or patriotism but as a question, a reminder of the crossroads at which we currently find ourselves as Americans. Given the examples we’d just borne witness to — the weight of history, the potential outcomes from fascist regimes — where do we go from here? What kind of country do we want to be? When the protest songs of 2017 are performed 100 years from now, will they be tinged, as songs from Nazi Germany are, with futility?\u003c/p>\n\u003cfigure id=\"attachment_12925689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12925689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg\" alt=\"Christian Reif addresses the audience\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/06A2265.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christian Reif addresses the audience. \u003ccite>(Jessie Huntsman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously the theme is timely,” the German-born Reif told me a few minutes after the show’s conclusion, as he and several performers, including Tines, mingled with audience members. “But I think artists have always had ways of speaking the truth about what’s happening around them, maybe ways [other people] can’t.” Finding examples of this throughout history, he said, wasn’t difficult.\u003c/p>\n\u003cp>People were beginning to trickle out then, and a playlist of classic anti-war songs (Creedence Clearwater Revival at the symphony, anyone?) was briefly interrupted by a police siren from the street outside. Outside, it was St. Patrick’s Day in 2017 in America, and the bars downtown were filled to the brim with Irish whiskey-swilling humans, many of them likely doing their best to forget the present. It’s an understandable desire.\u003c/p>\n\u003cp>But I also left Soundbox with an oddly calm sense of power, of context: a feeling in my bones that these waters aren’t uncharted. It is both terrifying and reassuring that the human race has been here before. And at every point in history, from pretty much every corner of the globe, artists have left behind important lessons for us, not-so-secret gems of notes for this very purpose — songs as messages in bottles, if you will. We just have to decide, really, to listen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next Soundbox takes place April 14 and 15, curated by SFS trombonist Tim Higgins. \u003ca href=\"http://sfsoundbox.com/\" target=\"_blank\" rel=\"noopener\">Tickets ($45) go on sale Monday, March 20 at 10am; more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Symphony announced Tuesday that it is tapping German conductor Christian Reif as its next resident conductor. \u003c/p>\n\u003cp>Reif starts his new job in September, according to the announcement.\u003c/p>\n\u003cp>The 31-year-old conductor will replace outgoing Resident Conductor Donato Cabrera, who is also Music Director for the California Symphony and the Las Vegas Philharmonic Orchestra.\u003c/p>\n\u003cp>Reif’s main duties will be as an assistant working with SF Symphony Music Director Michael Tilson Thomas, leading the SF Symphony Youth Orchestra and conducting the Concerts for Kids, Adventures in Music, and Music for Families concerts.\u003c/p>\n\u003cp>Winner of the 2015 German Operetta Prize and a graduate of the Juilliard School, Reif led the SF Symphony for the first time last October, when he conducted the debut of Ted Hearne’s \u003cem>Dispatches.\u003c/em> SF Chronicle Music Critic Joshua Kosman later called the performance “a powerful Symphony debut.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reif is completing his second season as the conducting fellow with the New World Symphony where he also serves as fill-in conductor for Tilson Thomas, the Miami orchestra’s music director.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Symphony announced Tuesday that it is tapping German conductor Christian Reif as its next resident conductor. \u003c/p>\n\u003cp>Reif starts his new job in September, according to the announcement.\u003c/p>\n\u003cp>The 31-year-old conductor will replace outgoing Resident Conductor Donato Cabrera, who is also Music Director for the California Symphony and the Las Vegas Philharmonic Orchestra.\u003c/p>\n\u003cp>Reif’s main duties will be as an assistant working with SF Symphony Music Director Michael Tilson Thomas, leading the SF Symphony Youth Orchestra and conducting the Concerts for Kids, Adventures in Music, and Music for Families concerts.\u003c/p>\n\u003cp>Winner of the 2015 German Operetta Prize and a graduate of the Juilliard School, Reif led the SF Symphony for the first time last October, when he conducted the debut of Ted Hearne’s \u003cem>Dispatches.\u003c/em> SF Chronicle Music Critic Joshua Kosman later called the performance “a powerful Symphony debut.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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