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"content": "\u003cp>In 1998, the \u003ca href=\"https://www.instagram.com/sfquakes/\">Earthquakes\u003c/a>, San Francisco’s only co-ed LGBTQ+ ice hockey team, were lined up outside an Amsterdam arena for their entrance into the first-ever European Gay Games. The team had been established only a year earlier, pulling together both veterans of the sport and first-time hockey players. On that day, they joined 13,000 fellow athletes from 68 nations for the games’ opening ceremonies.\u003c/p>\n\u003cp>The Gay Games brought in more than 200,000 people to Europe’s self-proclaimed gay capital to celebrate sexual diversity at a time when sports and society at large were heavily steeped in homophobia, and the AIDS epidemic continued to devastate the LGBTQ+ community.\u003c/p>\n\u003cp>Yet the Gay Games made space for joy amid this turbulence. “You finally get to walk through the gates and see all these people, the stands are filled, and it definitely was super special,” says Quakes co-founder John Heine from his Concord home. He was 37 years old during Gay Games V — and not entirely out of the closet.\u003c/p>\n\u003cp>“I was hooked, and that was kind of my coming out story,” recalls Heine, now 62 and recovering from a recent hockey-related shoulder injury. “That was a lot of the importance in the vision about gay hockey, the San Francisco Quakes and also the Gay Games. For us, it was a way of learning how to fit into society and the coming out process.”\u003c/p>\n\u003cfigure id=\"attachment_13954187\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg\" alt=\"A film photo of two hockey players out of uniform. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Quakes’ co-founders John Heine (left) and Kim McAfee (right) in 1997. \u003ccite>(Courtesy of John Heine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, almost three decades since the team’s inception, the Quakes are returning to the ice following a pandemic hiatus. In a week, they’ll head south to compete alongside 11 other LGBTQ+ teams from across North America at the second-ever \u003ca href=\"https://www.palmspringsgayhockey.org/\">Palm Springs International Pride Hockey Tournament\u003c/a>, which kicks off March 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Quakes play at Yerba Buena Ice Skating Center as part of the San Francisco Adult Hockey League. With the revival, the team debuted a fresh look last month at the San José Sharks’ Pride game. The new logo offers nods to their home city and the Sharks, who have been longtime allies: a pink triangle and a progress arrow, symbols of Pride.\u003c/p>\n\u003cfigure id=\"attachment_13953901\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Number 44, Marion Lang, sits and watches The San Francisco Quakes play at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quakes’ comeback arrives at a time when the NHL is grappling with how to be more inclusive: The league banned themed jerseys in June 2023, during Pride month. A ban on Pride tape on hockey sticks followed in October of that year. After players and fans criticized the move, the \u003ca href=\"https://www.npr.org/2023/10/25/1208403697/nhl-pride-tape-ban-lifted-travis-dermott\">NHL reversed the rules\u003c/a>.\u003c/p>\n\u003cp>Despite these controversies in the league, the Sharks have been vocal supporters of the LGBTQ+ community and the Quakes in particular. They regularly welcome the queer hockey team to the SAP Center with friendly scrimmages and pro-bono coaching from Sharks’ head coach David Quinn.\u003c/p>\n\u003cp>“They’ve done Pride nights very, very well,” says 58-year-old Kieran Flaherty, who has been a member of the Quakes for two decades. “The way the Sharks did it, it seemed less pinkwashing and jumping on the bandwagon and more substantive in the approach. They came to us and said, ‘How would you guys like to do Pride this year in a way that might help you?’”\u003c/p>\n\u003cfigure id=\"attachment_13953899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kiki Flaherty (right) looks on as players jump over the wall during a game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flaherty got his start on the ice at four years old. Hockey was part of his family history: he hails from Minnesota, known as the “State of Hockey.” Though he wasn’t out at the time, he left the sport in eighth grade after feeling unwelcome for being more effeminate than the other boys on the team.\u003c/p>\n\u003cp>He came out at 22 and moved to San Francisco shortly after, where he first discovered the Quakes and the Gay Games. For Flaherty and many other team members, the Quakes and the Games provided a safe space for LGBTQ+ people and allies alike to play in an industry that can be, at times, hostile.\u003c/p>\n\u003cp>“That is part of our genesis,” Flaherty says. “Many of us felt we didn’t have a good place, a safe place, a healthy place for us to participate when we were younger. We were hoping that our presence would help to turn that around.”\u003c/p>\n\u003cfigure id=\"attachment_13953895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Quakes players get ready in their locker room before their game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The team consists of cisgender, trans and gender-diverse members, primarily of middle age with a few athletes in their early 60s. The Quakes welcomes varying experience levels, which has been part of their philosophy since the team was founded. But the team was nearly defunct from the pandemic about a year ago. With help recruiting from the Sharks, the next generation of LGBTQ+ hockey players is finding their way onto the Quakes.\u003c/p>\n\u003cp>“I couldn’t imagine a team like this not existing anymore, or teams like this across the United States not existing,” says 23-year-old Joey Marcacci, a gay athlete who’s played ice hockey since he was young. “It’s so important.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"headline": "The Earthquakes, SF's LGBTQ+ Hockey Team, Get Ready for Their Comeback",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1998, the \u003ca href=\"https://www.instagram.com/sfquakes/\">Earthquakes\u003c/a>, San Francisco’s only co-ed LGBTQ+ ice hockey team, were lined up outside an Amsterdam arena for their entrance into the first-ever European Gay Games. The team had been established only a year earlier, pulling together both veterans of the sport and first-time hockey players. On that day, they joined 13,000 fellow athletes from 68 nations for the games’ opening ceremonies.\u003c/p>\n\u003cp>The Gay Games brought in more than 200,000 people to Europe’s self-proclaimed gay capital to celebrate sexual diversity at a time when sports and society at large were heavily steeped in homophobia, and the AIDS epidemic continued to devastate the LGBTQ+ community.\u003c/p>\n\u003cp>Yet the Gay Games made space for joy amid this turbulence. “You finally get to walk through the gates and see all these people, the stands are filled, and it definitely was super special,” says Quakes co-founder John Heine from his Concord home. He was 37 years old during Gay Games V — and not entirely out of the closet.\u003c/p>\n\u003cp>“I was hooked, and that was kind of my coming out story,” recalls Heine, now 62 and recovering from a recent hockey-related shoulder injury. “That was a lot of the importance in the vision about gay hockey, the San Francisco Quakes and also the Gay Games. For us, it was a way of learning how to fit into society and the coming out process.”\u003c/p>\n\u003cfigure id=\"attachment_13954187\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg\" alt=\"A film photo of two hockey players out of uniform. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quakes02-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The Quakes’ co-founders John Heine (left) and Kim McAfee (right) in 1997. \u003ccite>(Courtesy of John Heine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, almost three decades since the team’s inception, the Quakes are returning to the ice following a pandemic hiatus. In a week, they’ll head south to compete alongside 11 other LGBTQ+ teams from across North America at the second-ever \u003ca href=\"https://www.palmspringsgayhockey.org/\">Palm Springs International Pride Hockey Tournament\u003c/a>, which kicks off March 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Quakes play at Yerba Buena Ice Skating Center as part of the San Francisco Adult Hockey League. With the revival, the team debuted a fresh look last month at the San José Sharks’ Pride game. The new logo offers nods to their home city and the Sharks, who have been longtime allies: a pink triangle and a progress arrow, symbols of Pride.\u003c/p>\n\u003cfigure id=\"attachment_13953901\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Number 44, Marion Lang, sits and watches The San Francisco Quakes play at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quakes’ comeback arrives at a time when the NHL is grappling with how to be more inclusive: The league banned themed jerseys in June 2023, during Pride month. A ban on Pride tape on hockey sticks followed in October of that year. After players and fans criticized the move, the \u003ca href=\"https://www.npr.org/2023/10/25/1208403697/nhl-pride-tape-ban-lifted-travis-dermott\">NHL reversed the rules\u003c/a>.\u003c/p>\n\u003cp>Despite these controversies in the league, the Sharks have been vocal supporters of the LGBTQ+ community and the Quakes in particular. They regularly welcome the queer hockey team to the SAP Center with friendly scrimmages and pro-bono coaching from Sharks’ head coach David Quinn.\u003c/p>\n\u003cp>“They’ve done Pride nights very, very well,” says 58-year-old Kieran Flaherty, who has been a member of the Quakes for two decades. “The way the Sharks did it, it seemed less pinkwashing and jumping on the bandwagon and more substantive in the approach. They came to us and said, ‘How would you guys like to do Pride this year in a way that might help you?’”\u003c/p>\n\u003cfigure id=\"attachment_13953899\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kiki Flaherty (right) looks on as players jump over the wall during a game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flaherty got his start on the ice at four years old. Hockey was part of his family history: he hails from Minnesota, known as the “State of Hockey.” Though he wasn’t out at the time, he left the sport in eighth grade after feeling unwelcome for being more effeminate than the other boys on the team.\u003c/p>\n\u003cp>He came out at 22 and moved to San Francisco shortly after, where he first discovered the Quakes and the Gay Games. For Flaherty and many other team members, the Quakes and the Games provided a safe space for LGBTQ+ people and allies alike to play in an industry that can be, at times, hostile.\u003c/p>\n\u003cp>“That is part of our genesis,” Flaherty says. “Many of us felt we didn’t have a good place, a safe place, a healthy place for us to participate when we were younger. We were hoping that our presence would help to turn that around.”\u003c/p>\n\u003cfigure id=\"attachment_13953895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240307-SF-QUAKES-KSM-3-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Quakes players get ready in their locker room before their game at the Yerba Buena Ice Skating and Bowling Center in San Francisco on Mar. 7, 2024. \u003ccite>(Kathryn Styer Martínez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The team consists of cisgender, trans and gender-diverse members, primarily of middle age with a few athletes in their early 60s. The Quakes welcomes varying experience levels, which has been part of their philosophy since the team was founded. But the team was nearly defunct from the pandemic about a year ago. With help recruiting from the Sharks, the next generation of LGBTQ+ hockey players is finding their way onto the Quakes.\u003c/p>\n\u003cp>“I couldn’t imagine a team like this not existing anymore, or teams like this across the United States not existing,” says 23-year-old Joey Marcacci, a gay athlete who’s played ice hockey since he was young. “It’s so important.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
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"headTitle": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach | KQED",
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"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation",
"headTitle": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation | KQED",
"content": "\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. [aside label='More YBCA Coverage' postid='arts_13953653,arts_13953032,arts_13952460']\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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\">[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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>\u003c/div>",
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"title": "Studio Ghibli Composer Joe Hisaishi is Coming to San Francisco",
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"content": "\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Hisaishi, the composer for timeless Studio Ghibli films such as \u003cem>Spirited Away\u003c/em>, \u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Kiki’s Delivery Service\u003c/em> and others, is coming to Davies Symphony Hall in September for four performances with the San Francisco Symphony. \u003c/p>\n\u003cp>As a right-hand man to director Hayao Miyazaki since 1984’s \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, Hisaishi has played a key role in shaping the tone of four decades’ worth of Studio Ghibli films, be it the buoyancy of \u003cem>Ponyo\u003c/em> or the tension of \u003cem>Princess Mononoke\u003c/em>.\u003c/p>\n\u003cp>Hisaishi’s appearances conducting the San Francisco Symphony, running Sept. 5–8, will feature both orchestra and chorus, as well as clips from classic Studio Ghibli films.\u003c/p>\n\u003cfigure id=\"attachment_13954061\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13954061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SpiritedAway-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Spirited Away,’ Hayao Miyazaki’s 2001 film which won the Academy Award for Best Animated Feature. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticket tip: the last time Hisaishi was in the Bay Area, at Symphony San Jose in 2018, all five shows sold out. So be ready when tickets go on sale for single symphony events on July 20 — or opt for a film series subscription package, available today, which includes screenings with a live orchestral score of \u003cem>Amadeus\u003c/em>, \u003cem>Titanic\u003c/em> and \u003cem>Lord of the Rings: The Two Towers\u003c/em>. (Other films with a live orchestral score in the symphony’s season include \u003cem>Psycho\u003c/em>, \u003cem>Coco\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hisaishi’s shows kick off the symphony’s 2024–25 season, \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">announced today\u003c/a>, which includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts. It was also announced that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">this will be the final season for Music Director Esa-Pekka Salonen\u003c/a> before he steps down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For film buffs, a Jan. 24–25 program conducted by Mark Elder includes Richard Strauss’ \u003cem>Also sprach Zarathustra\u003c/em> (you know it as the theme from \u003cem>2001: A Space Odyssey\u003c/em>), alongside works by Berlioz and Debussy, and Berkeley composer John Adams’ brisk, joyous \u003cem>Short Ride in a Fast Machine\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13954064\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"936\" class=\"size-full wp-image-13954064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Xavier-matt-dine-hires1-Medium-res-768x599.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Double bassist Xavier Foley. \u003ccite>(Matt Dine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The season also includes unusual combinations of musicians, such as a June 4 duo recital with double bassist Xavier Foley and pianist Kelly Lin, or a piano duet performance with Yuja Wang and Víkingur Ólafsson playing the music of Luciano Berio, Dave Brubeck, Conlon Nancarrow, Arvo Pärt and others.\u003c/p>\n\u003cp>Esteemed conductor Marin Alsop leads an April 10–12 program of American composers, including debut performances of works by Gabriela Ortiz and Gabriela Montero alongside Aaron Copland and Samuel Barber. \u003c/p>\n\u003cp>Guest artists include Lang Lang (at the symphony’s Sept. 25 gala performance), Joshua Bell, Emanuel Ax, Yuja Wang, Jean-Yves Thibaudet, Hilary Hahn, Anne-Sophie Mutter and Itzhak Perlman, among others. \u003c/p>\n\u003cfigure id=\"attachment_13954066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg\" alt=\"\" width=\"1200\" height=\"840\" class=\"size-full wp-image-13954066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Marin-Alsop-Credit-Nancy-Horowitz-DSC06568-768x538.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop. \u003ccite>(Nancy Horowitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soundbox, the symphony’s more casual nightclub performance series, has been scaled down to just two programs, curated by percussionist and composer Andy Akiho and New Orleans-based composer Courtney Bryan.\u003c/p>\n\u003cp>Other programs include performances of Verdi’s Requiem, Brahms’ Symphony No. 4, Beethoven’s Symphony No. 6, Mahler’s Symphony No. 7, Fauré’s Requiem, Elgar’s \u003cem>Enigma\u003c/em> Variations, Orff’s \u003cem>Carmina burana\u003c/em>, Brahms’ Symphony No. 1, Stravinsky’s \u003cem>The Rite of Spring\u003c/em>, Tchaikovsky’s Symphony No. 6 and other classics of the classical canon. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joe Hisaishi conducts the San Francisco Symphony in a prorgram of Studio Ghibli film scores on Sept. 5–8 at Davies Symphony Hall in San Francisco. The San Francisco Symphony’s 2024–25 season runs through June 2025; for a full list of programs and events, see the \u003ca href=\"https://www.sfsymphony.org/Calendar/2024-25/Overview\">season announcement\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025",
"headTitle": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED",
"content": "\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>[aside postID='arts_13926316']“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. [aside postid='arts_13953497']\u003c/p>\n\u003cp>“My hope — and what success will look like — is that over time, we’re able to develop that same sort of trust that we have with a lot of local folks here [in Seattle], as a destination to tap into what’s happening currently in the Bay Area musically across many, many genres,” Kellogg said. “When you tune in to 92.7 FM on Saturday nights when we launch the local music show, you’re going to likely hear something that you haven’t heard before, and you’re going to hear it alongside something that you do know, and that’s going to be exciting.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, KEXP’s CEO Ethan Raup is \u003ca href=\"https://www.kexp.org/about/kexp-bay-area-radio/\">soliciting feedback\u003c/a> from Bay Area music lovers and artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fan of acts like Japanese pop-funk band \u003ca href=\"https://www.youtube.com/watch?v=vQ4r1Wf75Jk\">CHAI\u003c/a>, Amsterdam Turkish psych rockers \u003ca href=\"https://www.youtube.com/watch?v=uLayWDyFrAo\">Altin Gün\u003c/a> or Colombian electro-pop band \u003ca href=\"https://www.youtube.com/watch?v=qU50MDtbkEk\">Bomba Estéreo\u003c/a>, there’s a chance that you’ve heard \u003ca href=\"https://www.kexp.org/\">KEXP\u003c/a>. The Seattle public radio station has 3.2 million subscribers on YouTube, where its in-studio concerts regularly garner tens of thousands of views. In fact, a large portion KEXP’s fanbase resides in the Bay Area — making the region well suited for KEXP’s expansion, which hits local airwaves March 19 on 92.7 FM.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We hope that we can add value to the local ecosystem. And in that, one of our focuses has been to connect with and to build relationships with the other stations out there, both terrestrial and online,” said Chief Programming Officer Chris Kellogg in a recent interview.\u003c/p>\n\u003cp>Those other like-minded stations include San Francisco’s KALW, which features DJs active in the Bay Area’s live music and nightlife scenes, UC Berkeley’s KALX and BFF.FM, which streams an eclectic array of DIY programing out of San Francisco’s Mission District.\u003c/p>\n\u003cp>“We really think that there is space for all of us and that we can and look forward to opportunities for us to uplift each other,” Kellogg added.\u003c/p>\n\u003cp>KEXP emerged out of University of Washington in 1972, and established itself as a tastemaker in the late 1980s, when Nirvana and Soundgarden put the spotlight on Seattle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Its Bay Area expansion materialized in October 2023, when it won an auction to purchase KREV 92.7 FM Alameda/San Francisco, which most recently operated as a hip-hop station. KEXP sources about half its budget from listener pledges, and funded the acquisition thanks to a $10 million bequest in a donor’s will, which the station has strategically invested.\u003c/p>\n\u003cp>Programming on KEXP Bay Area will mirror the DJ-driven, genre-less array of shows on KEXP Seattle, and the station will soon begin recruiting a host for a Bay Area music show it plans to launch, tentatively, in August. Already, KEXP Seattle boasts the longest running local music show in the Northwest, \u003ca href=\"https://www.kexp.org/shows/Audioasis/\">\u003cem>Audioasis\u003c/em>\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cp>There’s a plethora of quirky, artistic and alternative video games to play at Day of the Devs, a free event celebrating indie games at the Midway on Sunday, March 17. From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/day-of-the-devs-2024-san-francisco-edition-in-person-celebration-tickets-797078512287?aff=oddtdtcreator\">\u003cem>Day of the Devs is free with RSVP\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a plethora of quirky, artistic and alternative video games to play at Day of the Devs, a free event celebrating indie games at the Midway on Sunday, March 17. From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ",
"headTitle": "Review: Brandee Younger Honors the Music — and Spirit — of Alice Coltrane at SFJAZZ | KQED",
"content": "\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>[aside postID='news_11693821']Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg\" alt=\"A Black woman sitting in white dress plays the harp with musical equipment and a potted plant nearby\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Brandee-Younger-SFJAZZ-Center-March-9-2024-photo-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had started to worry about the term “spiritual jazz.” \u003c/p>\n\u003cp>For the past six or seven years, it has become divorced from its radical roots to become the new \u003ca href=\"https://putumayo.bandcamp.com/\">Putumayo Music\u003c/a> — a hip, vaguely “exotic” sound for well-to-do middle-aged white people to dabble in its aesthetics in order to feel sophisticated. It is no longer the social and political undercurrent of “\u003ca href=\"https://www.youtube.com/watch?v=OQ3vbrwabuM\">Alabama\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=dokLwszdUgY\">Space is the Place\u003c/a>” or “\u003ca href=\"https://www.youtube.com/watch?v=FkDvkR5l1eg\">Colors\u003c/a>,” but playlist wallpaper. A few years ago, when I was in one of those lifestyle boutiques on Valencia Street — you know the kind, with candles, bespoke jewelry and a single rack of long dresses — and heard Alice Coltrane’s \u003cem>Journey in Satchidananda\u003c/em>, I knew something was amiss culturally, like something reverent was being stolen.\u003c/p>\n\u003cp>Thankfully, Brandee Younger came to the SFJAZZ Center this past weekend to take it back. \u003c/p>\n\u003cfigure id=\"attachment_13953843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13953843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Branddee-Younger-at-SFJAZZ-Center-March-9-2024-credit-Jack-Brown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger, second from right, performs the music of Alice Coltrane at the SFJAZZ Center in San Francisco on Saturday, March 9, 2024 with her ensemble. Left to right: string ensemble conducted by De’Sean Jones, drummer Makaya McCraven, flautist Nicole Mitchell, bassist Rashaan Carter, saxophonist Ravi Coltrane, harpist Younger, and pianist/ keyboardist Marc Cary. \u003ccite>(Jack Brown/SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her program dedicated to the music of Alice Coltrane, Younger brought players closely connected to the music’s lineage. Nicole Mitchell, founder of the \u003ca href=\"https://www.youtube.com/watch?v=ZbCd6iPoQCA\">Black Earth Ensemble\u003c/a> and former chair of the \u003ca href=\"https://www.youtube.com/watch?v=c5CTjuCYOTw\">Association for the Advancement of Creative Musicians\u003c/a>, played flute. On drums was Makaya McCraven, whose father played with \u003ca href=\"https://www.youtube.com/watch?v=75MCN2k1tQw\">Archie Shepp\u003c/a>. On saxophone, well, you can’t do much better than Ravi Coltrane, the son of John and Alice Coltrane.\u003c/p>\n\u003cp>But it was Younger’s total immersion in the music, and commitment to honoring it deeply and properly, that elevated the program from surface-level tribute to sacred ritual. From lesser-known songs like set opener “Rama Rama” to eternal compositions like “Turiya & Ramakrishna,” Younger played solos that dug probingly into Coltrane’s modal chord figures and prodded the band to moments of transcendental alchemy. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Alice Coltrane was overlooked in her time is no secret; plainly sexist notions, of her as mere wife of one of jazz’s most prominent musicians, kept the world from recognizing her genius. Shattered by her husband’s untimely death at the tail end of the civil rights era, she turned to religious education, founded Sai Anantam Ashram in Southern California and recorded privately pressed cassettes of Hindu devotional songs.\u003c/p>\n\u003cp>In other words, she lived with intention — and the group on Saturday night matched it. There were quite simply no weak links on stage. Credit must go to De’Sean Jones, who conducted a string sextet with a keen ear for dynamics, especially on the delicate “Pranadhana,” played by just harp, soprano sax and strings. Bassist Rashaan Carter anchored the group (the bass line for “Journey in Satchidananda” was one of the first he ever learned, remarked Younger after the song) and included a few brilliant solos of hammer-ons and pull-offs that never got too flashy for their own good. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mitchell traded fours with Coltrane on the perpetually accelerating “Los Caballos,” which gave McCraven a chance to break out of his support role and play the disassembled beats he’s known for. On “Blue Nile” — a song that Alice Coltrane performed at her \u003ca href=\"https://www.eastbaytimes.com/2006/11/07/fans-share-a-love-supreme-with-alice-coltrane-and-son/\">last-ever concert\u003c/a>, at San Francisco’s Masonic Auditorium in 2006 — Mitchell infused her invigorating alto flute solo with a bluesy, human cry of experience. (\u003ca href=\"https://www.kqed.org/arts/13950805/andre-3000-tickets-san-francisco-bimbos-the-independent\">Andre 3000\u003c/a>, take notes.)\u003c/p>\n\u003cp>Ravi Coltrane, who just gets more revelatory every year, propelled the uptempo “Affinity” with a thrilling solo that maneuvered inside and out of the music. As for Marc Cary, who played piano and synthesizer? At the end of “Prema,” he soloed so bracingly up the piano keys that his fingers kept right on playing, off the right edge of the piano, into the air. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Younger’s high regard for Alice Coltrane is more than evident; she introduced three different songs as “my favorite Alice Coltrane composition.” What she \u003cem>did\u003c/em> with that esteem at SFJAZZ on Saturday night, though? You won’t get it in a spiritual jazz playlist piped through Sonos speakers at a Thai fusion restaurant in Napa. You just had to be there, and let it wash over you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Nourished and Replenished’: Meklit’s New EP Delivers an Antidote for Uncertain Times",
"headTitle": "‘Nourished and Replenished’: Meklit’s New EP Delivers an Antidote for Uncertain Times | KQED",
"content": "\u003cp>“Everyday dreaming, everyday songs / Everyday pushing, we keep keeping on,” sings \u003ca href=\"https://www.meklitmusic.com/\">Meklit\u003c/a> on “Antidote,” the first track on the San Francisco musician’s new EP, as a hopeful saxophone line from \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> rises up behind her. “Everyday passage, everyday bread / You yourself are an offer, turn the world on its head.”\u003c/p>\n\u003cp>[aside postID='arts_13817300']It’s classic Meklit, finding beauty in the mundane — a thread that runs through most of her work. The Ethiopian-American singer-songwriter, who’s earned critical acclaim for her inventive blend of jazz, folk and East African music, is a true Bay Area multihyphenate. A speaker, scholar and organizer, she’s been a TED Senior Fellow, founded the nonprofit \u003ca href=\"https://www.bu.edu/arts/nile-project/\">Nile Project\u003c/a> and held a programming role at Yerba Buena Center for the Arts until 2022. Her podcast and performance series \u003cem>\u003ca href=\"https://movementstories.com/\">Movement\u003c/a>\u003c/em>, which debuted in 2020 nationwide on PRX’s The World, explores stories of migration and the malleable concept of home.\u003c/p>\n\u003cp>But, man, does it feel like an extra special gift when she decides to release new music. \u003ca href=\"https://meklitsings.bandcamp.com/album/ethio-blue\">\u003cem>Ethio Blue\u003c/em>\u003c/a>, out Friday, March 8, is Meklit’s first release in seven years. She’ll celebrate it with \u003ca href=\"https://www.brava.org/all-events/ethio-blue\">a full-band live show at San Francisco’s Brava theater\u003c/a> on Saturday, March 9.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1122803803/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>On first listen, one might assume the collection of six songs is a pandemic album. These songs play with grief and hope; they’re unmistakably intimate, introspective and tender, even as funk grooves lock into place, percussion builds to epic proportions and Meklit’s vocal power fills the room.\u003c/p>\n\u003cp>That assumption would be wrong: Meklit wrote and recorded most of these songs in 2019, while on the verge of becoming a first-time mother, and trying to process the daily horrors of the Trump Administration.\u003c/p>\n\u003cp>“I was thinking about what kind of world I wanted this child to be in,” recalls the songwriter of that tumultuous time. “And then every other week there would be a new way of assaulting immigrants, or assaulting women, and everyone just seemed so worn down … I wanted to write healing songs, to help people feel nourished and replenished, remind people of their strengths and capacities and power.”\u003c/p>\n\u003cfigure id=\"attachment_13953527\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg\" alt=\"a smiling woman performs at a microphone on stage\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Meklit performs at a festival in Helsinki. \u003ccite>(Petri Anttila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, she sought out sounds and words that made \u003cem>her\u003c/em> feel nourished. The track “Hagere Ethiopia,” which she sings in Amharic, was born of a lyrical collaboration with \u003ca href=\"https://www.tayitu.org/copy-of-history\">Alemtsehay Wedajo\u003c/a>, a longtime poet, theater actress and activist whom Meklit describes as a giant in contemporary Ethiopian art and culture.\u003c/p>\n\u003cp>“She was so openhearted and excited about it,” says Meklit. The upbeat song, adapted from a poem of Wedajo’s, names rivers, caves and other ecological features of Ethiopia, describing them as precious heirlooms. “She’s so powerful, and in Ethiopia she’s a legend, but because she’s not writing in English she’s not really known here. I wanted to acknowledge her … and honor our women heroes, who often don’t get acknowledged while they’re still alive.”\u003c/p>\n\u003cp>Elsewhere, Meklit drew inspiration from right outside her window: “Birdsong” pulls its melody and feel from, yes, a bird the singer recorded one morning; there’s also a stunning clarinet part from Ismail Lumanovski that sounds like a flight path. The production, from Dan Wilson (Jon Batiste, Leon Bridges, John Legend), is somehow both earthy and pristine.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2988072889/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Five years after she wrote these songs, some things have changed: the quietude of pregnancy has been replaced by the joyful cacophony of a 4-year-old, who often accompanies his parents — Meklit and her partner, percussionist Marco Peris Coppola — on the road. But \u003cem>Ethio Blue\u003c/em>’s determined hope in the face of uncertainty has persisted, and, in these songs, aged quite well.\u003c/p>\n\u003cp>[aside postID='arts_13951290']“We have all kinds of reasons to feel terrified,” acknowledges Meklit, noting that the specter of Trump once again hangs over the national mood. And yet “there’s also never been more space for me in the public sphere, as an African woman, as a Black woman, as an immigrant woman. … For me, it’s thinking about places where our power is expanding, our abilities to shape worlds for ourselves.”\u003c/p>\n\u003cp>Music helps, she says, by forcing her to stay present — and she hopes to offer the same to people who come to her shows.\u003c/p>\n\u003cp>“Look at the neuroscience of what’s happening at a show: our brains are doing entrainment, syncing up with the rhythm, so our brain waves are moving together. We’re singing, so our breath is moving together,” says the artist.\u003c/p>\n\u003cp>“We have the things we need to make us feel connected in our own well-being, and our own sense of possibility,” she adds. “We just have to remember them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Meklit performs her EP release show at 8 p.m. on Saturday, March 9, at Brava Theater (2789 24th St.) in San Francisco. Oakland’s LoCura opens. \u003ca href=\"https://www.brava.org/all-events/ethio-blue\">Tickets ($25 and up) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Everyday dreaming, everyday songs / Everyday pushing, we keep keeping on,” sings \u003ca href=\"https://www.meklitmusic.com/\">Meklit\u003c/a> on “Antidote,” the first track on the San Francisco musician’s new EP, as a hopeful saxophone line from \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> rises up behind her. “Everyday passage, everyday bread / You yourself are an offer, turn the world on its head.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s classic Meklit, finding beauty in the mundane — a thread that runs through most of her work. The Ethiopian-American singer-songwriter, who’s earned critical acclaim for her inventive blend of jazz, folk and East African music, is a true Bay Area multihyphenate. A speaker, scholar and organizer, she’s been a TED Senior Fellow, founded the nonprofit \u003ca href=\"https://www.bu.edu/arts/nile-project/\">Nile Project\u003c/a> and held a programming role at Yerba Buena Center for the Arts until 2022. Her podcast and performance series \u003cem>\u003ca href=\"https://movementstories.com/\">Movement\u003c/a>\u003c/em>, which debuted in 2020 nationwide on PRX’s The World, explores stories of migration and the malleable concept of home.\u003c/p>\n\u003cp>But, man, does it feel like an extra special gift when she decides to release new music. \u003ca href=\"https://meklitsings.bandcamp.com/album/ethio-blue\">\u003cem>Ethio Blue\u003c/em>\u003c/a>, out Friday, March 8, is Meklit’s first release in seven years. She’ll celebrate it with \u003ca href=\"https://www.brava.org/all-events/ethio-blue\">a full-band live show at San Francisco’s Brava theater\u003c/a> on Saturday, March 9.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1122803803/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>On first listen, one might assume the collection of six songs is a pandemic album. These songs play with grief and hope; they’re unmistakably intimate, introspective and tender, even as funk grooves lock into place, percussion builds to epic proportions and Meklit’s vocal power fills the room.\u003c/p>\n\u003cp>That assumption would be wrong: Meklit wrote and recorded most of these songs in 2019, while on the verge of becoming a first-time mother, and trying to process the daily horrors of the Trump Administration.\u003c/p>\n\u003cp>“I was thinking about what kind of world I wanted this child to be in,” recalls the songwriter of that tumultuous time. “And then every other week there would be a new way of assaulting immigrants, or assaulting women, and everyone just seemed so worn down … I wanted to write healing songs, to help people feel nourished and replenished, remind people of their strengths and capacities and power.”\u003c/p>\n\u003cfigure id=\"attachment_13953527\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg\" alt=\"a smiling woman performs at a microphone on stage\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Meklit-at-Helsinki-Festival-by-Petri_Anttila-smaller-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Meklit performs at a festival in Helsinki. \u003ccite>(Petri Anttila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, she sought out sounds and words that made \u003cem>her\u003c/em> feel nourished. The track “Hagere Ethiopia,” which she sings in Amharic, was born of a lyrical collaboration with \u003ca href=\"https://www.tayitu.org/copy-of-history\">Alemtsehay Wedajo\u003c/a>, a longtime poet, theater actress and activist whom Meklit describes as a giant in contemporary Ethiopian art and culture.\u003c/p>\n\u003cp>“She was so openhearted and excited about it,” says Meklit. The upbeat song, adapted from a poem of Wedajo’s, names rivers, caves and other ecological features of Ethiopia, describing them as precious heirlooms. “She’s so powerful, and in Ethiopia she’s a legend, but because she’s not writing in English she’s not really known here. I wanted to acknowledge her … and honor our women heroes, who often don’t get acknowledged while they’re still alive.”\u003c/p>\n\u003cp>Elsewhere, Meklit drew inspiration from right outside her window: “Birdsong” pulls its melody and feel from, yes, a bird the singer recorded one morning; there’s also a stunning clarinet part from Ismail Lumanovski that sounds like a flight path. The production, from Dan Wilson (Jon Batiste, Leon Bridges, John Legend), is somehow both earthy and pristine.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2988072889/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Five years after she wrote these songs, some things have changed: the quietude of pregnancy has been replaced by the joyful cacophony of a 4-year-old, who often accompanies his parents — Meklit and her partner, percussionist Marco Peris Coppola — on the road. But \u003cem>Ethio Blue\u003c/em>’s determined hope in the face of uncertainty has persisted, and, in these songs, aged quite well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have all kinds of reasons to feel terrified,” acknowledges Meklit, noting that the specter of Trump once again hangs over the national mood. And yet “there’s also never been more space for me in the public sphere, as an African woman, as a Black woman, as an immigrant woman. … For me, it’s thinking about places where our power is expanding, our abilities to shape worlds for ourselves.”\u003c/p>\n\u003cp>Music helps, she says, by forcing her to stay present — and she hopes to offer the same to people who come to her shows.\u003c/p>\n\u003cp>“Look at the neuroscience of what’s happening at a show: our brains are doing entrainment, syncing up with the rhythm, so our brain waves are moving together. We’re singing, so our breath is moving together,” says the artist.\u003c/p>\n\u003cp>“We have the things we need to make us feel connected in our own well-being, and our own sense of possibility,” she adds. “We just have to remember them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Meklit performs her EP release show at 8 p.m. on Saturday, March 9, at Brava Theater (2789 24th St.) in San Francisco. Oakland’s LoCura opens. \u003ca href=\"https://www.brava.org/all-events/ethio-blue\">Tickets ($25 and up) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF",
"headTitle": "‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF | KQED",
"content": "\u003cp>Right now, we’re all thinking about the cost of living. The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. [aside postid='news_11977258']\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” [aside postid='news_11976472']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now, we’re all thinking about the cost of living. The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony",
"headTitle": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony | KQED",
"content": "\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>[aside postID='arts_13951043']That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n",
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"excerpt": "Alexander Scriabin's mystical work soared with radiant lighting and immersive scents at Davis Symphony Hall. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center",
"headTitle": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center | KQED",
"content": "\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13953284']Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As long as Bad Bunny keeps wearing his heart on his sleeve, fans will keep coming back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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