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And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The ICA San Francisco will move into a new, rent-free space at 345 Montgomery St. in the Financial District.","status":"publish","parent":0,"modified":1725131921,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":586},"headData":{"title":"San Francisco Art Museum to Move Into Building Co-Owned by Trump | KQED","description":"The ICA San Francisco will move into a new, rent-free space at 345 Montgomery St. in the Financial District.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Art Museum to Move Into Building Co-Owned by Trump","datePublished":"2024-08-30T16:46:19-07:00","dateModified":"2024-08-31T12:18:41-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13963491","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963491/ica-san-francisco-contemporary-art-museum-trump-financial-district","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.icasf.org/\">Institute of Contemporary Art San Francisco\u003c/a> announced today that it will soon move from its current location in the Dogpatch neighborhood to 345 Montgomery St. in the Financial District, a building co-owned by Vornado Realty Trust and the Trump Organization.\u003c/p>\n\u003cp>The property is anchored by a 52-story tower at 555 California St., the former flagship building for Bank of America, which the Trump Organization \u003ca href=\"https://www.trump.com/commercial-real-estate-portfolio/555-california-street\">describes in its list of holdings\u003c/a> as an “iconic business address towering over San Francisco.” The Trump Organization \u003ca href=\"https://www.sfchronicle.com/realestate/article/trump-sell-s-f-tower-19363646.php\">reportedly holds a 30% ownership share\u003c/a> of the property.\u003c/p>\n\u003cp>Asked about former president Donald Trump’s stake in their future home, ICA founding director Ali Gass told KQED that “ICA San Francisco’s values are not at all aligned with Trump’s values.”\u003c/p>\n\u003cp>Gass added that fact would be made clear through the artists and programming the ICA supports in the new location, and stressed that the nonprofit has dealt exclusively with Vornado. “They have been extraordinarily generous and clearly believe deeply in the impact of a nonprofit arts organization,” she said.\u003c/p>\n\u003cp>The ICA’s future home, “\u003ca href=\"https://www.cbre.com/properties/properties-for-lease/office/details/US-SMPL-54744/the-cube-345-montgomery-street-san-francisco-ca-94104\">The Cube\u003c/a>,” was once a banking hall; the dramatic stone, glass and metal building was designed in 1971 by Skidmore, Owings & Merrill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The non-collecting institution will \u003ca href=\"https://sfstandard.com/2024/08/30/institute-of-contemporary-art-san-francisco-relocates-downtown/\">reopen on two floors of the five-story, 73,000-square-foot building\u003c/a> on Oct. 25, more than doubling its current gallery space. And, through a deal with Vornado, it will do so at virtually no cost to itself: The ICA will enjoy free rent and utilities for two years.\u003c/p>\n\u003cp>Gass emphasized the benefits the ICA will bring to the immediate neighborhood, and to downtown San Francisco at large. “What we’ve seen contemporary art be able to do in so many cities and neighborhoods [is] drive traffic and have economic impact,” she said, “because people come to an arts organization and they go get a meal, and they go get a drink.”\u003c/p>\n\u003cp>While the Trump Organization does not have decision-making power related to property, it has profited greatly from its partnership with Vornado, which includes \u003ca href=\"https://www.vno.com/office/property/1290-avenue-of-the-americas/3311697/landing\">another co-owned building\u003c/a> in Manhattan. In 2021, \u003ca href=\"https://www.bloomberg.com/news/articles/2021-04-30/trump-scores-617-million-of-cash-with-vornado-from-tower-bonds\">Bloomberg reported\u003c/a> that the former president was positioned to share a windfall of around $617 million after a bond sale to refinance 555 California St.\u003c/p>\n\u003cp>Largely funded by \u003ca href=\"https://www.economist.com/culture/2022/10/19/silicon-valleys-plutocrats-are-shaking-up-culture-in-the-region\">Silicon Valley tech money\u003c/a>, ICA San Francisco set forth a bold mission to promote “\u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">constant reinvention in the realm of contemporary art\u003c/a>” — and, just as importantly, to make that experimental work accessible to all. In the two years since its launch, the museum has largely made good on those promises, hosting eight high-profile exhibitions, all with free admission, plus dozens of additional \u003ca href=\"https://www.kqed.org/arts/13937851/ofrendas-mexican-immigration-dinner-bolita-masa-sf-ica\">pop-ups\u003c/a> and educational programs.\u003c/p>\n\u003cp>During its time in the Dogpatch, the ICA hosted exhibitions spotlighting both prominent international artists and up-and-coming locals. One \u003ca href=\"https://www.kqed.org/arts/13918463/fall-2022-bay-area-visual-art-gallery-museum-guide\">installation featured hand-sewn banners\u003c/a> inspired by traditional tattoo designs; another asserted \u003ca href=\"https://www.kqed.org/arts/13925416/resting-our-eyes-ica-sf-review-black-women-leisure\">Black women’s right to rest and leisure\u003c/a>. The museum also contributed to the once mostly industrial area’s burgeoning identity as the city’s “\u003ca href=\"https://nymag.com/urbanist/inside-the-dogpatch-san-franciscos-artsiest-neighborhood.html\">artsiest neighborhood\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ICA will launch its new Financial District space with three openings: \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/16-the-poetics-of-dimensions\">The Poetics of Dimensions\u003c/a>\u003c/em>, curated by Larry Ossei-Mensah; \u003cem>\u003ca href=\"https://www.icasf.org/exhibitions/15-riverbend\">Maryam Yousif: Riverbend\u003c/a>\u003c/em>, a ceramics exhibition that references \u003ca href=\"https://www.kqed.org/arts/13963016/visual-art-fall-guide-2024-bay-area\">Mesopotamian and Assyrian mythology and Iraqi pop culture\u003c/a>; and a solo presentation by New York artist \u003ca href=\"https://www.kathleen-ryan.com/\">Kathleen Ryan\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963491/ica-san-francisco-contemporary-art-museum-trump-financial-district","authors":["61","11743"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_820","arts_22291","arts_1753","arts_10278","arts_3648","arts_1146","arts_901"],"featImg":"arts_13963513","label":"arts"},"arts_13962857":{"type":"posts","id":"arts_13962857","meta":{"index":"posts_1716263798","site":"arts","id":"13962857","score":null,"sort":[1725026410000]},"guestAuthors":[],"slug":"best-classical-music-concerts-bay-area-fall-2024","title":"The Best Classical Music Concerts in the Bay Area This Fall","publishDate":1725026410,"format":"aside","headTitle":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","status":"publish","parent":0,"modified":1725053259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1373},"headData":{"title":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","description":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Classical Music Concerts in the Bay Area This Fall","datePublished":"2024-08-30T07:00:10-07:00","dateModified":"2024-08-30T14:27:39-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13962857","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_6180","arts_22281","arts_10278","arts_3281","arts_763","arts_1367","arts_2960","arts_22276","arts_585"],"featImg":"arts_13955628","label":"source_arts_13962857"},"arts_13963258":{"type":"posts","id":"arts_13963258","meta":{"index":"posts_1716263798","site":"arts","id":"13963258","score":null,"sort":[1724871647000]},"guestAuthors":[],"slug":"bay-area-night-markets-food-fall-guide-2024","title":"Night Markets Are Bringing Back Bay Area Nightlife, One Neighborhood at a Time","publishDate":1724871647,"format":"standard","headTitle":"Night Markets Are Bringing Back Bay Area Nightlife, One Neighborhood at a Time | KQED","labelTerm":{},"content":"\u003cp>If you’ve ever wandered the back alleyways of a stinky tofu–fragrant Taipei night market, or done a laksa crawl at a Singaporean hawker center, or strolled from yakisoba stall to takoyaki stand amid a sea of yukata at a traditional Japanese summer festival — then you know the \u003ca href=\"https://web.archive.org/web/20171201052033/https://modernluxury.com/san-francisco/story/the-power-of-night-market\">power of a night market\u003c/a>.\u003c/p>\n\u003cp>And you also probably know: We’ve never really had a street food culture quite like that in the Bay Area, and \u003ca href=\"https://www.sfchronicle.com/opinion/soleilho/article/san-francisco-night-market-food-bureaucracy-19654195.php\">maybe we never will\u003c/a>. And yet, four years into a pandemic that has isolated communities and crippled downtown shopping districts, the night market has emerged as the single most popular antidote to those woes. Loosely modeled after the kinds of late-night, food-centric markets that are ubiquitous through much of Asia, night market events have launched as a way to bring communities together in cities and neighborhoods all across the Bay — from the chilly west end of San Francisco to the vast suburban parking lots of Silicon Valley. There are some weekends this fall when a dedicated night market enthusiast can hit up two or three of these street food panaceas. \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">Miracle of miracles\u003c/a>, a few of them are even open as late as 10 p.m.\u003c/p>\n\u003cp>And as we head into the Bay Area’s relatively balmy autumn months, these night markets are some of the best places to taste a sampling of our region’s diverse, multicultural cuisines. Here are 10 night markets we’re excited about:\u003c/p>\n\u003cfigure id=\"attachment_13963298\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria.jpg\" alt=\"Asian man in black backwards baseball cap tosses fried rice in a hot wok at an outdoor market.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Woo Can Cook’s wok-fried rice is one of the Prescott Night Market’s street food options. \u003ccite>(Don Feria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Prescott Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 5 and Oct. 3, 4–8 p.m.\u003c/em>\u003cbr>\n\u003cem>1620 18th St., Oakland\u003c/em>\u003c/p>\n\u003cp>With its 8 o’clock end time, West Oakland’s popular new monthly \u003ca href=\"https://www.westoaklandfarmersmarket.org/nightmarket\">Thursday night market\u003c/a> might not be the most nocturnal of the Bay Area’s new nighttime street food events. But it does pack plenty of Town energy into each four-hour market, starting with an especially multicultural lineup of food vendors selling Cambodian meat skewers, Nigerian jollof, Cubano sandwiches, Taiwanese night market–inspired fried rice, whole roast pig and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prescott Night Market is located in an increasingly lively stretch of West Oakland, on the same block where an \u003ca href=\"https://www.westoaklandfarmersmarket.org/markethall\">affiliated food hall\u003c/a> is expected to open later this year and just across the street from the \u003ca href=\"https://www.kqed.org/arts/13960687/oakland-ballers-baseball-summertime-fans\">Oakland Ballers’ ballpark\u003c/a>, which has created a fortuitous bit of synergy when market nights have coincided with Ballers’ home games. Other highlights: a beer garden courtesy of Almanac Beer Co. and vertical dance performances from Bandaloop Studios (known for its high-flying side-of-building choreography).\u003c/p>\n\u003cfigure id=\"attachment_13963299\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5.jpg\" alt=\"Rice paper topped with corn and ground meat being grilled over hot charcoal.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rice paper grilled over hot charcoal at the Story Road Night Market in San José. \u003ccite>(Courtesy of Moveable Feast)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Story Road Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 6–7 and Oct. 11–12, 4–10 p.m.\u003c/em>\u003cbr>\n\u003cem>1111 Story Rd., San José (Grand Century Mall parking lot)\u003c/em>\u003c/p>\n\u003cp>What sets \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">Little Saigon’s first night market\u003c/a> apart from the crowd of generically trendy food truck festivals is its organizers’ close collaboration with the neighborhood’s two big Vietnamese shopping plazas — Grand Century and Vietnam Town — which means the sheer variety of both traditional and more fusiony Vietnamese street foods can’t be beat. Add a sprinkling of cultural performances and Vietnamese-style night market games, and you’ve got a winning formula: The inaugural \u003ca href=\"https://www.mvbl.co/storyroad/\">Story Road Night Market\u003c/a> drew such large crowds that the organizers decided to make the September and October editions about 30% bigger, adding even more food vendors (both Vietnamese and non-Vietnamese) to the roster. Newcomers for September include perennial favorite Pho Ha Noi (one of the Bay Area’s top phở spots) and vendors specializing in bánh xèo and fresh-pressed sugarcane juice.\u003c/p>\n\u003ch2>Lucky Cat Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 4–9 p.m.\u003c/em>\u003cbr>\n\u003cem>501 Buckingham Way, San Francisco (Stonestown Mall parking lot)\u003c/em>\u003c/p>\n\u003cp>Co-organized by Annie Zhou of the Haight Street retail and events collective \u003ca href=\"https://www.instagram.com/everdaze.co/\">Everdaze\u003c/a> and Sabrina Chan of \u003ca href=\"https://www.instagram.com/lovestrucksf/\">Lovestruck Vintage\u003c/a>, this \u003ca href=\"https://www.instagram.com/p/C8lXb7uRLAN/\">new night market\u003c/a> in the Stonestown Mall parking lot draws inspiration from hawker food markets in East and Southeast Asia — though its combination of street food, local artists and well-curated vintage fashion should feel right at home in SF. The tag line? “Good food, good finds and good vibes.” Foodwise, notable vendors will include Filipino street eats from Sarap Shop and Fairy Bites, rolled ice cream from Cool Rolls and Latin American flavors by GAX.\u003c/p>\n\u003cfigure id=\"attachment_13963453\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu.jpg\" alt=\"Plate of fried stinky tofu garnished with cilantro and pickled carrots.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There will be a stinky tofu station at the Oakland Chinatown Night Market. \u003ccite>(Courtesy of Lounge Chinatown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Chinatown Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 5–9 p.m.\u003c/em>\u003cbr>\n\u003cem>8th Street (between Webster and Broadway), Oakland\u003c/em>\u003c/p>\n\u003cp>Oakland Chinatown business owners and activists have long talked about how amazing it would be for the neighborhood to have its own large-scale night market. Now, finally, it’s happening. Two blocks of 8th Street will be glammed up with string lights, roll-up door murals and pop-up art galleries; rappers \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> and \u003ca href=\"https://www.instagram.com/imdtrue/?hl=en\">Dtrue\u003c/a> will take the stage; and, to kick things off, local squads representing China, Laos, Japan and the Philippines will duke it out in a pan-Asian basketball tournament.\u003c/p>\n\u003cp>Mostly, though, this night market is all about food. For the market’s overarching “Dumpling Wars” theme, one of the neighborhood’s newer restaurants, Shunde Tastes, will cook up six different Asian dumpling styles, allowing visitors to vote for their favorites. \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a> will set up several outdoor stations hawking street-style stinky tofu, grilled oysters and five-spice popcorn chicken, creating a Taiwanese night market vibe. All told, there will be at least 18 food vendors, from both within and outside of Chinatown, selling everything from \u003ca href=\"https://www.instagram.com/ubebeepies/\">ube mini pies\u003c/a> to Latin American–influenced \u003ca href=\"https://sushibae510.com/\">sushi rolls\u003c/a>.\u003c/p>\n\u003cp>For the \u003ca href=\"https://www.ocic-ca.org/\">Oakland Chinatown Improvement Council\u003c/a>, which is organizing the free event, the inaugural night market is a proof of concept. If all goes well, the nonprofit hopes the city will provide enough funding for it to put on at least four night markets a year — and, more importantly, to once again make Chinatown a vibrant night-time destination.\u003c/p>\n\u003cfigure id=\"attachment_13963302\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6.jpg\" alt=\"A woman grilling meat skewers over a charcoal grill.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Indian barbecue courtesy of Hayward’s Wah Jee Wah. \u003ccite>(Courtesy of Bhangra and Beats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bhangra and Beats Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 13 and Nov. 15, 5–10 p.m.\u003c/em>\u003cbr>\n\u003cem>Battery Street at Clay Street, San Francisco\u003c/em>\u003c/p>\n\u003cp>One of downtown San Francisco’s most unique night markets is essentially a massive, rollicking Friday night block party that shines a particular spotlight on South Asian culture — feet-pounding \u003ca href=\"https://nonstopbhangra.com/\">bhangra folk music and dancing\u003c/a> and, of course, a wide spectrum of street food offerings, including biryani and chaat from the Pakistani food truck \u003ca href=\"https://www.instagram.com/lahoredikhushboo/?hl=en\">Lahore Di Khushboo\u003c/a> and charcoal-grilled meat skewers from Indian barbecue sensation \u003ca href=\"https://www.instagram.com/wahjeewah/?hl=en\">Wah Jee Wah\u003c/a>.\u003c/p>\n\u003cp>Each edition of \u003ca href=\"https://www.bhangraandbeats.com/\">Bhangra and Beats\u003c/a> has its own theme. The September night market, for instance, will incorporate a number of Latin American vendors and performers to celebrate Latino Heritage Month. And November’s market will be a full-fledged Diwali party — the first one of this scale in San Francisco.\u003c/p>\n\u003ch2>Chinatown Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 13, Oct. 11 and Nov. 8, 5:30–9 p.m.\u003c/em>\u003cbr>\n\u003cem>Grant Avenue (between Sacramento and Jackson), San Francisco\u003c/em>\u003c/p>\n\u003cp>On the tail of several challenging pandemic-era years, San Francisco’s Chinatown now has its own night market, held the second Friday of every month. Hosted by \u003ca href=\"https://bechinatown.weebly.com/\">BeChinatown\u003c/a>, a coalition of Chinatown business leaders and other stakeholders, the Chinatown Night Market typically features \u003ca href=\"https://www.instagram.com/p/C4VtaG_LF_B/?hl=en&img_index=1\">big crowds\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CzfzNl7LBLE/?hl=en\">lion dancers\u003c/a>, fun \u003ca href=\"https://www.instagram.com/p/C9T7dl4OBfl/?hl=en\">carnival games\u003c/a> and a host of local vendors showcasing one of San Francisco’s most iconic food neighborhoods.\u003c/p>\n\u003cfigure id=\"attachment_13963303\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market.jpg\" alt=\"A crowd waits in line at the Liang's Village food stand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Liang’s Village Taiwanese food stand at a previous edition of the Cupertino Night Market. \u003ccite>(Courtesy of Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cupertino Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 3–10 p.m.\u003c/em>\u003cbr>\n\u003cem>De Anza College, 21250 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>Would it surprise you to hear that \u003ca href=\"https://www.eventbrite.com/e/2024-cupertino-night-market-tickets-894723300477\">Cupertino’s annual night market\u003c/a> has a tech angle? But if the VR gaming truck or the big raffle for a chance to test drive a Tesla for a week don’t get the lithium ion–fueled engine of your heart pumping, there will also be lots of food — about 20 vendors in all, including South Bay stalwarts like longtime Taiwanese favorite \u003ca href=\"https://www.instagram.com/liangsvillage/\">Liang’s Village\u003c/a> and Mexican pizza truck \u003ca href=\"https://www.instagram.com/tlaxiacos/\">Tlaxiaco’s\u003c/a>.\u003c/p>\n\u003cp>Ultimately, the core of the event is its strong community focus, which means instead of recruiting high-profile headliners to perform, the market’s live music and entertainment will mostly consist of local amateur acts and school clubs.\u003c/p>\n\u003cfigure id=\"attachment_13963304\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market.jpg\" alt=\"A crowded night market lit up with string lights.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A previous edition of the Berryessa Night Market’s Moon Fest celebration, which takes place at the San José Flea Market. \u003ccite>(Courtesy of Garden at the Flea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Moon Fest 2024\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 5–9 p.m.\u003c/em>\u003cbr>\n\u003cem>San José Flea Market, 1590 Berryessa Rd., San José\u003c/em>\u003c/p>\n\u003cp>Every Friday through October, the San José Flea Market (aka \u003ca href=\"https://www.kqed.org/arts/13905374/la-pulga-san-jose-flea-market-redevelopment-eulogy\">La Pulga\u003c/a>) operates a weekly night market at its new “Garden at the Flea” beer garden and events space, often with a specific theme. Of particular note is the market’s Sept. 14 edition, which will be San José’s sixth annual Moon Fest — a modern Mid-Autumn Festival celebration hosted in collaboration with Asian American nonprofit \u003ca href=\"https://www.instagram.com/emcollectve/\">EM Collective\u003c/a>. A lion dance troupe and other local performers will take the stage to complement the night market’s crafts vendors, photo booths and a diverse lineup of food vendors serving pork sisig, poke bowls and Mexican street corn.\u003c/p>\n\u003ch2>Heart of the Richmond Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 21, 4–8 p.m.\u003c/em>\u003cbr>\n\u003cem>Clement Street (between 22nd and 25th Avenues), San Francisco\u003c/em>\u003c/p>\n\u003cp>The Richmond District has long been one of the best dining destinations in San Francisco, between its well-established (if informal) designation as the city’s “New Chinatown,” status as the historical center for the local Russian-speaking communities, and sprinkling of trendy higher-end restaurants. It’s fitting, then, that the neighborhood’s new night market reflects that vibrancy and diversity.\u003c/p>\n\u003cp>While the food booth lineup for the Sept. 21 market (the last one of 2024) has yet to be fully set, \u003ca href=\"https://heartoftherichmonddistrictnightmarket.com/aug-17th-participants/\">previous iterations\u003c/a> have played to the neighborhood’s strengths: dim sum, Chinese barbecue, rice dumplings, dragon beard candy, Uzbek-Russian pastries and more. All that, plus folk dance performances, mahjong, facepainting and free cartoons for kids at the 4 Star Theater.\u003c/p>\n\u003cfigure id=\"attachment_13963308\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals.jpg\" alt=\"People line up outside a food truck at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The line outside the Curry Up Now food truck at last year’s inaugural Sunset Night Market. \u003ccite>(Kemily Visuals)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sunset Night Market\u003c/h2>\n\u003cp>\u003cem>Aug. 30 and Sept. 27, 5–10 p.m.\u003c/em>\u003cbr>\n\u003cem>Irving Street (between 19th and 26th Avenues), San Francisco\u003c/em>\u003c/p>\n\u003cp>Probably the largest and most ambitious among San Francisco’s new batch of night markets, this year’s editions of the \u003ca href=\"https://sunsetmercantilesf.com/sunset-night-market/\">Sunset Night Market\u003c/a> have doubled in size, now spanning seven city blocks (!) after last year’s inaugural market already \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sunset-night-market-vendors-19574731.php\">drew more than 10,000 visitors\u003c/a>. With over 100 art and retail vendors and 50-plus food vendors, there should be something to suit every visitor’s tastes. The emphasis, though, will be on Asian street foods — garlic noodles, crispy pork belly, halo-halo, Thai-inspired larb burritos, extra-large Taiwanese night market–style fried chicken cutlets and more.\u003c/p>\n\u003cp>The itinerary for Sept. 27 is still a work in progress, but guests can expect a bit of extra razzle-dazzle as well. The Aug. 30 night market, for instance, will feature a stinky tofu eating contest and a guest appearance from Martin Yan.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> A previous version of this article stated that DJ Qbert would perform at the Sept. 5 Prescott Night Market. He is no longer performing — instead, the \u003ca href=\"https://www.phatluvband.com/upcoming-shows\">Phat Luv\u003c/a> band will perform at the event.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This fall, the region’s tastiest food events will be out in the streets.","status":"publish","parent":0,"modified":1724988225,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":2025},"headData":{"title":"The Best Bay Area Night Markets to Visit This Fall | KQED","description":"This fall, the region’s tastiest food events will be out in the streets.","ogTitle":"Night Markets Are Bringing Back Bay Area Nightlife, One Neighborhood at a Time","ogDescription":"","ogImgId":"","twTitle":"Night Markets Are Bringing Back Bay Area Nightlife, One Neighborhood at a Time","twDescription":"","twImgId":"","socialTitle":"The Best Bay Area Night Markets to Visit This Fall %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Night Markets Are Bringing Back Bay Area Nightlife, One Neighborhood at a Time","datePublished":"2024-08-28T12:00:47-07:00","dateModified":"2024-08-29T20:23:45-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"WpOldSlug":"night-markets-are-bringing-back-bay-area-nightlife-one-neighborhood-at-a-time","nprStoryId":"kqed-13963258","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963258/bay-area-night-markets-food-fall-guide-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever wandered the back alleyways of a stinky tofu–fragrant Taipei night market, or done a laksa crawl at a Singaporean hawker center, or strolled from yakisoba stall to takoyaki stand amid a sea of yukata at a traditional Japanese summer festival — then you know the \u003ca href=\"https://web.archive.org/web/20171201052033/https://modernluxury.com/san-francisco/story/the-power-of-night-market\">power of a night market\u003c/a>.\u003c/p>\n\u003cp>And you also probably know: We’ve never really had a street food culture quite like that in the Bay Area, and \u003ca href=\"https://www.sfchronicle.com/opinion/soleilho/article/san-francisco-night-market-food-bureaucracy-19654195.php\">maybe we never will\u003c/a>. And yet, four years into a pandemic that has isolated communities and crippled downtown shopping districts, the night market has emerged as the single most popular antidote to those woes. Loosely modeled after the kinds of late-night, food-centric markets that are ubiquitous through much of Asia, night market events have launched as a way to bring communities together in cities and neighborhoods all across the Bay — from the chilly west end of San Francisco to the vast suburban parking lots of Silicon Valley. There are some weekends this fall when a dedicated night market enthusiast can hit up two or three of these street food panaceas. \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">Miracle of miracles\u003c/a>, a few of them are even open as late as 10 p.m.\u003c/p>\n\u003cp>And as we head into the Bay Area’s relatively balmy autumn months, these night markets are some of the best places to taste a sampling of our region’s diverse, multicultural cuisines. Here are 10 night markets we’re excited about:\u003c/p>\n\u003cfigure id=\"attachment_13963298\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria.jpg\" alt=\"Asian man in black backwards baseball cap tosses fried rice in a hot wok at an outdoor market.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/prescott-1_don-feria-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Woo Can Cook’s wok-fried rice is one of the Prescott Night Market’s street food options. \u003ccite>(Don Feria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Prescott Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 5 and Oct. 3, 4–8 p.m.\u003c/em>\u003cbr>\n\u003cem>1620 18th St., Oakland\u003c/em>\u003c/p>\n\u003cp>With its 8 o’clock end time, West Oakland’s popular new monthly \u003ca href=\"https://www.westoaklandfarmersmarket.org/nightmarket\">Thursday night market\u003c/a> might not be the most nocturnal of the Bay Area’s new nighttime street food events. But it does pack plenty of Town energy into each four-hour market, starting with an especially multicultural lineup of food vendors selling Cambodian meat skewers, Nigerian jollof, Cubano sandwiches, Taiwanese night market–inspired fried rice, whole roast pig and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prescott Night Market is located in an increasingly lively stretch of West Oakland, on the same block where an \u003ca href=\"https://www.westoaklandfarmersmarket.org/markethall\">affiliated food hall\u003c/a> is expected to open later this year and just across the street from the \u003ca href=\"https://www.kqed.org/arts/13960687/oakland-ballers-baseball-summertime-fans\">Oakland Ballers’ ballpark\u003c/a>, which has created a fortuitous bit of synergy when market nights have coincided with Ballers’ home games. Other highlights: a beer garden courtesy of Almanac Beer Co. and vertical dance performances from Bandaloop Studios (known for its high-flying side-of-building choreography).\u003c/p>\n\u003cfigure id=\"attachment_13963299\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5.jpg\" alt=\"Rice paper topped with corn and ground meat being grilled over hot charcoal.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/story-road-5-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rice paper grilled over hot charcoal at the Story Road Night Market in San José. \u003ccite>(Courtesy of Moveable Feast)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Story Road Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 6–7 and Oct. 11–12, 4–10 p.m.\u003c/em>\u003cbr>\n\u003cem>1111 Story Rd., San José (Grand Century Mall parking lot)\u003c/em>\u003c/p>\n\u003cp>What sets \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">Little Saigon’s first night market\u003c/a> apart from the crowd of generically trendy food truck festivals is its organizers’ close collaboration with the neighborhood’s two big Vietnamese shopping plazas — Grand Century and Vietnam Town — which means the sheer variety of both traditional and more fusiony Vietnamese street foods can’t be beat. Add a sprinkling of cultural performances and Vietnamese-style night market games, and you’ve got a winning formula: The inaugural \u003ca href=\"https://www.mvbl.co/storyroad/\">Story Road Night Market\u003c/a> drew such large crowds that the organizers decided to make the September and October editions about 30% bigger, adding even more food vendors (both Vietnamese and non-Vietnamese) to the roster. Newcomers for September include perennial favorite Pho Ha Noi (one of the Bay Area’s top phở spots) and vendors specializing in bánh xèo and fresh-pressed sugarcane juice.\u003c/p>\n\u003ch2>Lucky Cat Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 4–9 p.m.\u003c/em>\u003cbr>\n\u003cem>501 Buckingham Way, San Francisco (Stonestown Mall parking lot)\u003c/em>\u003c/p>\n\u003cp>Co-organized by Annie Zhou of the Haight Street retail and events collective \u003ca href=\"https://www.instagram.com/everdaze.co/\">Everdaze\u003c/a> and Sabrina Chan of \u003ca href=\"https://www.instagram.com/lovestrucksf/\">Lovestruck Vintage\u003c/a>, this \u003ca href=\"https://www.instagram.com/p/C8lXb7uRLAN/\">new night market\u003c/a> in the Stonestown Mall parking lot draws inspiration from hawker food markets in East and Southeast Asia — though its combination of street food, local artists and well-curated vintage fashion should feel right at home in SF. The tag line? “Good food, good finds and good vibes.” Foodwise, notable vendors will include Filipino street eats from Sarap Shop and Fairy Bites, rolled ice cream from Cool Rolls and Latin American flavors by GAX.\u003c/p>\n\u003cfigure id=\"attachment_13963453\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu.jpg\" alt=\"Plate of fried stinky tofu garnished with cilantro and pickled carrots.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lounge-chinatown-stinky-tofu-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There will be a stinky tofu station at the Oakland Chinatown Night Market. \u003ccite>(Courtesy of Lounge Chinatown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Oakland Chinatown Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 7, 5–9 p.m.\u003c/em>\u003cbr>\n\u003cem>8th Street (between Webster and Broadway), Oakland\u003c/em>\u003c/p>\n\u003cp>Oakland Chinatown business owners and activists have long talked about how amazing it would be for the neighborhood to have its own large-scale night market. Now, finally, it’s happening. Two blocks of 8th Street will be glammed up with string lights, roll-up door murals and pop-up art galleries; rappers \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> and \u003ca href=\"https://www.instagram.com/imdtrue/?hl=en\">Dtrue\u003c/a> will take the stage; and, to kick things off, local squads representing China, Laos, Japan and the Philippines will duke it out in a pan-Asian basketball tournament.\u003c/p>\n\u003cp>Mostly, though, this night market is all about food. For the market’s overarching “Dumpling Wars” theme, one of the neighborhood’s newer restaurants, Shunde Tastes, will cook up six different Asian dumpling styles, allowing visitors to vote for their favorites. \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a> will set up several outdoor stations hawking street-style stinky tofu, grilled oysters and five-spice popcorn chicken, creating a Taiwanese night market vibe. All told, there will be at least 18 food vendors, from both within and outside of Chinatown, selling everything from \u003ca href=\"https://www.instagram.com/ubebeepies/\">ube mini pies\u003c/a> to Latin American–influenced \u003ca href=\"https://sushibae510.com/\">sushi rolls\u003c/a>.\u003c/p>\n\u003cp>For the \u003ca href=\"https://www.ocic-ca.org/\">Oakland Chinatown Improvement Council\u003c/a>, which is organizing the free event, the inaugural night market is a proof of concept. If all goes well, the nonprofit hopes the city will provide enough funding for it to put on at least four night markets a year — and, more importantly, to once again make Chinatown a vibrant night-time destination.\u003c/p>\n\u003cfigure id=\"attachment_13963302\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6.jpg\" alt=\"A woman grilling meat skewers over a charcoal grill.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/BHANGRA_BEATS_7.12.24_SM-6-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Indian barbecue courtesy of Hayward’s Wah Jee Wah. \u003ccite>(Courtesy of Bhangra and Beats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bhangra and Beats Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 13 and Nov. 15, 5–10 p.m.\u003c/em>\u003cbr>\n\u003cem>Battery Street at Clay Street, San Francisco\u003c/em>\u003c/p>\n\u003cp>One of downtown San Francisco’s most unique night markets is essentially a massive, rollicking Friday night block party that shines a particular spotlight on South Asian culture — feet-pounding \u003ca href=\"https://nonstopbhangra.com/\">bhangra folk music and dancing\u003c/a> and, of course, a wide spectrum of street food offerings, including biryani and chaat from the Pakistani food truck \u003ca href=\"https://www.instagram.com/lahoredikhushboo/?hl=en\">Lahore Di Khushboo\u003c/a> and charcoal-grilled meat skewers from Indian barbecue sensation \u003ca href=\"https://www.instagram.com/wahjeewah/?hl=en\">Wah Jee Wah\u003c/a>.\u003c/p>\n\u003cp>Each edition of \u003ca href=\"https://www.bhangraandbeats.com/\">Bhangra and Beats\u003c/a> has its own theme. The September night market, for instance, will incorporate a number of Latin American vendors and performers to celebrate Latino Heritage Month. And November’s market will be a full-fledged Diwali party — the first one of this scale in San Francisco.\u003c/p>\n\u003ch2>Chinatown Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 13, Oct. 11 and Nov. 8, 5:30–9 p.m.\u003c/em>\u003cbr>\n\u003cem>Grant Avenue (between Sacramento and Jackson), San Francisco\u003c/em>\u003c/p>\n\u003cp>On the tail of several challenging pandemic-era years, San Francisco’s Chinatown now has its own night market, held the second Friday of every month. Hosted by \u003ca href=\"https://bechinatown.weebly.com/\">BeChinatown\u003c/a>, a coalition of Chinatown business leaders and other stakeholders, the Chinatown Night Market typically features \u003ca href=\"https://www.instagram.com/p/C4VtaG_LF_B/?hl=en&img_index=1\">big crowds\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CzfzNl7LBLE/?hl=en\">lion dancers\u003c/a>, fun \u003ca href=\"https://www.instagram.com/p/C9T7dl4OBfl/?hl=en\">carnival games\u003c/a> and a host of local vendors showcasing one of San Francisco’s most iconic food neighborhoods.\u003c/p>\n\u003cfigure id=\"attachment_13963303\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market.jpg\" alt=\"A crowd waits in line at the Liang's Village food stand.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cupertino-night-market-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Liang’s Village Taiwanese food stand at a previous edition of the Cupertino Night Market. \u003ccite>(Courtesy of Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cupertino Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 3–10 p.m.\u003c/em>\u003cbr>\n\u003cem>De Anza College, 21250 Stevens Creek Blvd., Cupertino\u003c/em>\u003c/p>\n\u003cp>Would it surprise you to hear that \u003ca href=\"https://www.eventbrite.com/e/2024-cupertino-night-market-tickets-894723300477\">Cupertino’s annual night market\u003c/a> has a tech angle? But if the VR gaming truck or the big raffle for a chance to test drive a Tesla for a week don’t get the lithium ion–fueled engine of your heart pumping, there will also be lots of food — about 20 vendors in all, including South Bay stalwarts like longtime Taiwanese favorite \u003ca href=\"https://www.instagram.com/liangsvillage/\">Liang’s Village\u003c/a> and Mexican pizza truck \u003ca href=\"https://www.instagram.com/tlaxiacos/\">Tlaxiaco’s\u003c/a>.\u003c/p>\n\u003cp>Ultimately, the core of the event is its strong community focus, which means instead of recruiting high-profile headliners to perform, the market’s live music and entertainment will mostly consist of local amateur acts and school clubs.\u003c/p>\n\u003cfigure id=\"attachment_13963304\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market.jpg\" alt=\"A crowded night market lit up with string lights.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/berryessa-night-market-1920x1320.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A previous edition of the Berryessa Night Market’s Moon Fest celebration, which takes place at the San José Flea Market. \u003ccite>(Courtesy of Garden at the Flea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Moon Fest 2024\u003c/h2>\n\u003cp>\u003cem>Sept. 14, 5–9 p.m.\u003c/em>\u003cbr>\n\u003cem>San José Flea Market, 1590 Berryessa Rd., San José\u003c/em>\u003c/p>\n\u003cp>Every Friday through October, the San José Flea Market (aka \u003ca href=\"https://www.kqed.org/arts/13905374/la-pulga-san-jose-flea-market-redevelopment-eulogy\">La Pulga\u003c/a>) operates a weekly night market at its new “Garden at the Flea” beer garden and events space, often with a specific theme. Of particular note is the market’s Sept. 14 edition, which will be San José’s sixth annual Moon Fest — a modern Mid-Autumn Festival celebration hosted in collaboration with Asian American nonprofit \u003ca href=\"https://www.instagram.com/emcollectve/\">EM Collective\u003c/a>. A lion dance troupe and other local performers will take the stage to complement the night market’s crafts vendors, photo booths and a diverse lineup of food vendors serving pork sisig, poke bowls and Mexican street corn.\u003c/p>\n\u003ch2>Heart of the Richmond Night Market\u003c/h2>\n\u003cp>\u003cem>Sept. 21, 4–8 p.m.\u003c/em>\u003cbr>\n\u003cem>Clement Street (between 22nd and 25th Avenues), San Francisco\u003c/em>\u003c/p>\n\u003cp>The Richmond District has long been one of the best dining destinations in San Francisco, between its well-established (if informal) designation as the city’s “New Chinatown,” status as the historical center for the local Russian-speaking communities, and sprinkling of trendy higher-end restaurants. It’s fitting, then, that the neighborhood’s new night market reflects that vibrancy and diversity.\u003c/p>\n\u003cp>While the food booth lineup for the Sept. 21 market (the last one of 2024) has yet to be fully set, \u003ca href=\"https://heartoftherichmonddistrictnightmarket.com/aug-17th-participants/\">previous iterations\u003c/a> have played to the neighborhood’s strengths: dim sum, Chinese barbecue, rice dumplings, dragon beard candy, Uzbek-Russian pastries and more. All that, plus folk dance performances, mahjong, facepainting and free cartoons for kids at the 4 Star Theater.\u003c/p>\n\u003cfigure id=\"attachment_13963308\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals.jpg\" alt=\"People line up outside a food truck at nighttime.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Photo-3-Food-Trucks-Sunset-Inaugural-Night-Market-by-Kemily-VIsuals-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The line outside the Curry Up Now food truck at last year’s inaugural Sunset Night Market. \u003ccite>(Kemily Visuals)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sunset Night Market\u003c/h2>\n\u003cp>\u003cem>Aug. 30 and Sept. 27, 5–10 p.m.\u003c/em>\u003cbr>\n\u003cem>Irving Street (between 19th and 26th Avenues), San Francisco\u003c/em>\u003c/p>\n\u003cp>Probably the largest and most ambitious among San Francisco’s new batch of night markets, this year’s editions of the \u003ca href=\"https://sunsetmercantilesf.com/sunset-night-market/\">Sunset Night Market\u003c/a> have doubled in size, now spanning seven city blocks (!) after last year’s inaugural market already \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/sunset-night-market-vendors-19574731.php\">drew more than 10,000 visitors\u003c/a>. With over 100 art and retail vendors and 50-plus food vendors, there should be something to suit every visitor’s tastes. The emphasis, though, will be on Asian street foods — garlic noodles, crispy pork belly, halo-halo, Thai-inspired larb burritos, extra-large Taiwanese night market–style fried chicken cutlets and more.\u003c/p>\n\u003cp>The itinerary for Sept. 27 is still a work in progress, but guests can expect a bit of extra razzle-dazzle as well. The Aug. 30 night market, for instance, will feature a stinky tofu eating contest and a guest appearance from Martin Yan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> A previous version of this article stated that DJ Qbert would perform at the Sept. 5 Prescott Night Market. He is no longer performing — instead, the \u003ca href=\"https://www.phatluvband.com/upcoming-shows\">Phat Luv\u003c/a> band will perform at the event.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963258/bay-area-night-markets-food-fall-guide-2024","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276","arts_235"],"tags":["arts_22281","arts_10278","arts_1297","arts_22196","arts_8805","arts_12982","arts_585"],"featImg":"arts_13963307","label":"source_arts_13963258"},"arts_13963325":{"type":"posts","id":"arts_13963325","meta":{"index":"posts_1716263798","site":"arts","id":"13963325","score":null,"sort":[1724868213000]},"guestAuthors":[],"slug":"swifties-for-kamala-harris-trump-taylor-swift-fans","title":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help","publishDate":1724868213,"format":"standard","headTitle":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>[aside postID='news_11999092']\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\" loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/a>\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>[aside postID='arts_13960424']\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n","blocks":[],"excerpt":"By the end of their call Tuesday, 14,000 Taylor Swift fans reported registering to vote.","status":"publish","parent":0,"modified":1724868256,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1051},"headData":{"title":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help | KQED","description":"By the end of their call Tuesday, 14,000 Taylor Swift fans reported registering to vote.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help","datePublished":"2024-08-28T11:03:33-07:00","dateModified":"2024-08-28T11:04:16-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"swifties-for-kamala-think-harris-can-beat-trump-and-they-want-to-help","nprByline":"Elena Moore","nprStoryId":"g-s1-19907","nprHtmlLink":"https://www.npr.org/2024/08/28/g-s1-19907/swifties-for-kamala","nprRetrievedStory":"1","nprPubDate":"2024-08-28T13:17:48.202-04:00","nprStoryDate":"2024-08-28T13:17:48.202-04:00","nprLastModifiedDate":"2024-08-28T13:25:33.734-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11999092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\" loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/a>\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960424","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963325/swifties-for-kamala-harris-trump-taylor-swift-fans","authors":["byline_arts_13963325"],"categories":["arts_1","arts_835","arts_69","arts_235","arts_75"],"tags":["arts_4949","arts_22227","arts_22224","arts_3026"],"featImg":"arts_13963326","label":"arts"},"arts_13962843":{"type":"posts","id":"arts_13962843","meta":{"index":"posts_1716263798","site":"arts","id":"13962843","score":null,"sort":[1724770833000]},"guestAuthors":[],"slug":"the-10-best-jazz-shows-in-the-bay-area-this-fall","title":"The 10 Best Jazz Shows in the Bay Area This Fall","publishDate":1724770833,"format":"standard","headTitle":"The 10 Best Jazz Shows in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n","blocks":[],"excerpt":"Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ","status":"publish","parent":0,"modified":1724799305,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1183},"headData":{"title":"The 10 Best Jazz Shows in the Bay Area This Fall | KQED","description":"Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Jazz Shows in the Bay Area This Fall","datePublished":"2024-08-27T08:00:33-07:00","dateModified":"2024-08-27T15:55:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13962843","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962843/the-10-best-jazz-shows-in-the-bay-area-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"(max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"(max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962843/the-10-best-jazz-shows-in-the-bay-area-this-fall","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_22281","arts_10278","arts_2520","arts_1420","arts_22274","arts_2048","arts_585","arts_2093","arts_4107"],"featImg":"arts_13963177","label":"source_arts_13962843"},"arts_13963021":{"type":"posts","id":"arts_13963021","meta":{"index":"posts_1716263798","site":"arts","id":"13963021","score":null,"sort":[1724698849000]},"guestAuthors":[],"slug":"best-plays-musicals-bay-area-fall-2024-guide","title":"The Best Plays and Musicals to See This Fall in the Bay Area","publishDate":1724698849,"format":"standard","headTitle":"The Best Plays and Musicals to See This Fall in the Bay Area | KQED","labelTerm":{},"content":"\u003cp>This past July is officially on record as the hottest California month in decades. And while cooler temperatures will be ushered into the Bay Area soon, theater companies are hoping that local stages continue to stay hot well into the fall.\u003c/p>\n\u003cp>Companies are also gearing up to showcase their most artistic selves while continuing to find creative ways to achieve and maintain financial solvency. Here are 10 terrific shows from Labor Day to Thanksgiving one can start with to help support Bay Area theater companies.\u003c/p>\n\u003cfigure id=\"attachment_13963219\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg\" alt=\"\" width=\"1920\" height=\"1301\" class=\"size-full wp-image-13963219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1536x1041.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón and Hugo E. Carbajal in ‘Private Lives.’ \u003ccite>(Tim Fuller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Private Lives\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nSept. 12–Oct. 6, 2024\u003c/em>\u003c/p>\n\u003cp>Loathsome couple Elyot and Amanda aren’t looking for a reunion when they embark on a French vacation with new spouses. Yet the pull of their prior passions proves to be too much to resist, and a humor-filled comedy of manners ensues, rich with Noël Coward’s exquisite use of prose. A reunion of sorts from an acclaimed bilingual production of \u003cem>Romeo and Juliet\u003c/em> at Cal Shakes in 2022, multiple cast members now move to American Conservatory Theater’s Toni Rembe Theater to be directed by KJ Sanchez. The play’s original setting of France, meanwhile, is swapped out for Argentina, where an exotic and sensual tango informs Coward’s narrative.\u003c/p>\n\u003cfigure id=\"attachment_13963072\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg\" alt=\"\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13963072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">After serving as artistic director of the Peninsula’s Pear Theatre since early 2020, Sinjin Jones is entering his final season helming the company, kicking off the 2024 campaign directing the musical ‘Once on This Island.’ \u003ccite>(Courtesy Sinjin Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/\">Once on This Island\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre, Palo Alto\u003cbr>\nSept. 13–Oct. 13, 2024\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of a young Black peasant girl and the love she finds with a mixed-race aristocrat in Haiti is the basis for this one-act musical. While the show itself carries a history of consequential productions, its significance as the kickoff for The Pear Theatre season is tinted with an impending loss. Sinjin Jones, who took over as artistic director of the Palo Alto company in early 2020, will leave at the end of the 2025 season. Jones has played a vital role in leading the company through the pandemic, all while revitalizing the 22-year-old theater troupe by promoting diversity and equity in addition to strengthening the company’s educational and community programs.\u003c/p>\n\u003cfigure id=\"attachment_13963071\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg\" alt=\"\" width=\"1600\" height=\"1103\" class=\"size-full wp-image-13963071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1536x1059.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marie (Dominique Thorne) observes the wedding dress of Jaja (Somi Kakoma) in the Broadway production of ‘Jaja’s African Hair Braiding,’ heading to Berkeley this fall.\u003cbr> \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://www.berkeleyrep.org/shows/jaja-s-african-hair-braiding/\">Jaja’s African Hair Braiding\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003cbr>\nNov. 8–Dec. 15, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Jocelyn Bioh is no stranger to Berkeley Rep, having premiered the musical \u003cem>Goddess\u003c/em> there in 2022. Her next visit to the East Bay is with Broadway’s sleeper hit of last fall, \u003cem>Jaja’s African Hair Braiding\u003c/em>, with Whitney White returning to the director’s chair in this co-production with Arena Stage and Chicago Shakespeare Theater. Bioh’s play is an exercise in joy with serious themes about immigration and access to the American dream, all fused with a scorching Afrobeat soundtrack of the genre’s biggest stars. The play also features one of the coolest stage effects in recent memory throughout the entire show, culminating in some true theater magic at the end.\u003c/p>\n\u003cfigure id=\"attachment_13963070\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg\" alt=\"\" width=\"1600\" height=\"1065\" class=\"size-full wp-image-13963070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1536x1022.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley artistic director Giovanna Sardelli and Pulitzer-finalist playwright Rajiv Joseph have developed a long collaboration over the years. Joseph’s play ‘King James’ kicks of TheatreWorks’s 54th season. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://theatreworks.org/mainstage/king-james/\">King James\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nOct. 9–Nov. 3, 2024\u003c/em>\u003c/p>\n\u003cp>After the rousing success of the United States men’s national basketball team, capped by a thrilling finish and a gold medal, there’s no better time to dive into this story of two friends who enter into an unexpected connection. These men, whose fortunes run through the early, prodigious career of Lebron James, are the creation of Pulitzer-finalist playwright Rajiv Joseph. TheatreWorks’ artistic director Giovanna Sardelli, a frequent collaborator of Joseph, kicks off the company’s 54th season directing this tale of hoops and hopes.\u003c/p>\n\u003cfigure id=\"attachment_13963069\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg\" alt=\"\" width=\"1600\" height=\"1035\" class=\"size-full wp-image-13963069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1536x994.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The New Conservatory Theatre Center cast of ‘Ride the Cyclone,’ a show described as ‘weird and wondrous.’\u003cbr> \u003ccite>(New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>New Conservatory Theatre Center, San Francisco\u003cbr>\nSept. 20–Oct. 20, 2024\u003c/em>\u003c/p>\n\u003cp>This grizzled and gritty musical follows a Canadian school choir group who perish on the Cyclone roller coaster — but, while in limbo, are offered a chance to return to life via a mechanical fortune teller. The piece has had a bit of a zany history since its 2008 premiere, created by Jacob Richmond and Brooke Maxwell. The musical’s success reached something of a zenith in 2022 – on TikTok, millions of Gen Z users began diving deep into \u003cem>Ride the Cyclone\u003c/em> songs, stories and lore. The musical is dark, but also quite fun, and its regional premiere gives the Bay Area a chance to see what the hype is all about.\u003c/p>\n\u003cfigure id=\"attachment_13963068\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg\" alt=\"\" width=\"1020\" height=\"679\" class=\"size-full wp-image-13963068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob, seen here during the Marin Theatre Company production of ‘Dragon Lady’ in November of 2023, weaves a captivating tale of her grandmother’s perilous journey from Manila to the United States. Porkalob’s one-person show makes a return to the Bay Area via Walnut Creek at Center Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lesherartscenter.org/programs/center-repertory-company\">Dragon Lady\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Center Repertory Company, Walnut Creek\u003cbr>\nOct. 27–Nov. 24, 2024\u003c/em>\u003c/p>\n\u003cp>Seattle’s Sara Porkalob is a piercing, shooting star, tackling the theater world on her own terms, and her trilogy of plays that chronicle the women in her life are produced all over the country. For those who missed her \u003ca href=\"https://www.kqed.org/arts/13938714/powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch\">critically acclaimed run\u003c/a> in Marin last fall of \u003cem>Dragon Lady\u003c/em>, where she morphs into multiple characters while showcasing her buttery singing voice, a second chance in Walnut Creek is a gift. Presented in association with Marin Theatre Company, Porkalob’s one-person show about her grandmother’s perilous and painful journey from Manila to the United States is a masterclass in how to command a theater space with splash and panache.\u003c/p>\n\u003cfigure id=\"attachment_13963076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg\" alt=\"\" width=\"640\" height=\"360\" class=\"size-full wp-image-13963076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Kushner’s ‘Angels in America’ gets a reimagined production from the Oakland Theater Project. \u003ccite>(Maury Phillips/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/angels\">Angels in America, Parts I and II\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project at Marin Shakespeare Company\u003cbr>\nSept. 27–Oct. 27, 2024\u003c/em>\u003c/p>\n\u003cp>For this interpretation of one of theater’s greatest achievements, Tony Kushner’s two-part opus \u003cem>Angels in America\u003c/em>, Oakland Theater Project goes on the road to San Rafael at Marin Shakespeare Company’s new indoor space. Kushner is not known for writing pieces that are slim, and over two plays, \u003cem>Angels\u003c/em> easily surpasses seven hours. But what exists within those hours is incredibly powerful, raw and utterly thrilling.\u003c/p>\n\u003cp>There are endless themes within this story about AIDS’ impact on multiple couples in 1985. The Pulitzer and Tony Award-winning play encompasses the taboo of homosexuality in the 1980s, the AIDS crisis that disproportionately impacted gay couples, and the crisis of religious faith, all intersecting with appearances by historical figures. The Bay Area is home to \u003cem>Angels in America\u003c/em> in many ways, from its initial commission at the former Eureka Theatre in San Francisco in 1990 to a hugely consequential production at Berkeley Rep in 2018. (Lisa Ramirez, featured in OTP’s production, also played The Angel in Berkeley that year.)\u003c/p>\n\u003cfigure id=\"attachment_13963077\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13963077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Lizzie Borden case is fodder for a new punk musical. \u003ccite>(Bill Greene/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/lizzie-the-musical/\">Lizzie: The Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>6th Street Playhouse, Santa Rosa\u003cbr>\nOct. 4–27, 2024\u003c/em>\u003c/p>\n\u003cp>Lizzie Borden was accused of murdering her father and stepmother in 1892. In 1893, she was fully acquitted and lived the rest of her life in the same city the murders took place, Fall River, Massachusetts. And now, in Santa Rosa in 2024, her story is ready to shred at 6th Street Playhouse in the form of the 2009 rock musical. Expect all the components that make for a brutal tale of rage, sex, murder and mystery, plus power chords. \u003c/p>\n\u003cp>As a precursor to the bloody delights of the visceral musical’s sharp rock score, some gentler fare is going down at 6th Street, with the musical \u003cem>\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/four-guys-named-jose-and-una-mujer-named-maria/\">4 Guys Named José…and Una Mujer Named María\u003c/a>\u003c/em> opening at the end of August.\u003c/p>\n\u003cfigure id=\"attachment_13963078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg\" alt=\"\" width=\"2000\" height=\"1231\" class=\"size-full wp-image-13963078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1920x1182.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Jackson, left, takes on the joyful role of Rosalind, pursuing the love of Orlando, played by Wiley Naman Strasser, in Cal Shakes’s 50th anniversary production of William Shakespeare’s ‘As You Like It’ in Orinda. \u003ccite>(Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/asyoulikeit/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bruns Amphitheater, Orinda\u003cbr>\nSept. 12–29, 2024\u003c/em>\u003c/p>\n\u003cp>Cal Shakes faced some serious uphill battles to produce their first full production in two years, implementing a fundraising campaign that netted $365,000 — over their stated goal. While the future of the company is still fluid (the fundraiser is only supplementing the budget for this production), the company is firmly focused this 50th anniversary production of William Shakespeare’s classic at their picturesque outdoor space.\u003c/p>\n\u003cp>Elizabeth Carter directs this pastoral comedy with one of Shakespeare’s most beloved female characters, Rosalind, who flees persecution in search of safety and love in the Forest of Arden, with many colorful characters entering her world along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"aligncenter size-full wp-image-13963079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-768x481.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.zspace.org/murakami\">Murakami: The Strange Library\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Space and Word for Word, San Francisco\u003cbr>\nNov. 13–Dec. 8, 2024\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A library best described as a nightmare is the setting for Haruki Murakami’s short novel \u003cem>The Strange Library\u003c/em>. With a lonely young boy, a mysterious girl and a tortured sheep man, the story is brought to life by Word for Word, a program of Z Space. The program has performed more than 70 stories since 1996, bringing theatrical flair to written word of all types. Lead teaching artist with the Youth Theater Project Lisa Hori-Garcia collaborates with Bay Area actor and designer Keiko Shimosato Carreiro to direct Murakami’s popular children’s story.\u003c/p>\n\n","blocks":[],"excerpt":"From a Noël Coward classic to a surprise TikTok hit, Bay Area stages have something for everyone this fall.","status":"publish","parent":0,"modified":1724714201,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1736},"headData":{"title":"Your Guide to the Best Plays and Musicals to See This Fall | KQED","description":"From a Noël Coward classic to a surprise TikTok hit, Bay Area stages have something for everyone this fall.","ogTitle":"The Best Plays and Musicals to See This Fall in the Bay Area","ogDescription":"","ogImgId":"","twTitle":"The Best Plays and Musicals to See This Fall in the Bay Area","twDescription":"","twImgId":"","socialTitle":"Your Guide to the Best Plays and Musicals to See This Fall %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Plays and Musicals to See This Fall in the Bay Area","datePublished":"2024-08-26T12:00:49-07:00","dateModified":"2024-08-26T16:16:41-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13963021","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13963021/best-plays-musicals-bay-area-fall-2024-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past July is officially on record as the hottest California month in decades. And while cooler temperatures will be ushered into the Bay Area soon, theater companies are hoping that local stages continue to stay hot well into the fall.\u003c/p>\n\u003cp>Companies are also gearing up to showcase their most artistic selves while continuing to find creative ways to achieve and maintain financial solvency. Here are 10 terrific shows from Labor Day to Thanksgiving one can start with to help support Bay Area theater companies.\u003c/p>\n\u003cfigure id=\"attachment_13963219\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg\" alt=\"\" width=\"1920\" height=\"1301\" class=\"size-full wp-image-13963219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Opt_6B5A2580_Credit-Tim-Fuller-1536x1041.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón and Hugo E. Carbajal in ‘Private Lives.’ \u003ccite>(Tim Fuller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Private Lives\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nSept. 12–Oct. 6, 2024\u003c/em>\u003c/p>\n\u003cp>Loathsome couple Elyot and Amanda aren’t looking for a reunion when they embark on a French vacation with new spouses. Yet the pull of their prior passions proves to be too much to resist, and a humor-filled comedy of manners ensues, rich with Noël Coward’s exquisite use of prose. A reunion of sorts from an acclaimed bilingual production of \u003cem>Romeo and Juliet\u003c/em> at Cal Shakes in 2022, multiple cast members now move to American Conservatory Theater’s Toni Rembe Theater to be directed by KJ Sanchez. The play’s original setting of France, meanwhile, is swapped out for Argentina, where an exotic and sensual tango informs Coward’s narrative.\u003c/p>\n\u003cfigure id=\"attachment_13963072\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg\" alt=\"\" width=\"1600\" height=\"1200\" class=\"size-full wp-image-13963072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">After serving as artistic director of the Peninsula’s Pear Theatre since early 2020, Sinjin Jones is entering his final season helming the company, kicking off the 2024 campaign directing the musical ‘Once on This Island.’ \u003ccite>(Courtesy Sinjin Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/\">Once on This Island\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre, Palo Alto\u003cbr>\nSept. 13–Oct. 13, 2024\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of a young Black peasant girl and the love she finds with a mixed-race aristocrat in Haiti is the basis for this one-act musical. While the show itself carries a history of consequential productions, its significance as the kickoff for The Pear Theatre season is tinted with an impending loss. Sinjin Jones, who took over as artistic director of the Palo Alto company in early 2020, will leave at the end of the 2025 season. Jones has played a vital role in leading the company through the pandemic, all while revitalizing the 22-year-old theater troupe by promoting diversity and equity in addition to strengthening the company’s educational and community programs.\u003c/p>\n\u003cfigure id=\"attachment_13963071\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg\" alt=\"\" width=\"1600\" height=\"1103\" class=\"size-full wp-image-13963071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-2-1536x1059.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marie (Dominique Thorne) observes the wedding dress of Jaja (Somi Kakoma) in the Broadway production of ‘Jaja’s African Hair Braiding,’ heading to Berkeley this fall.\u003cbr> \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://www.berkeleyrep.org/shows/jaja-s-african-hair-braiding/\">Jaja’s African Hair Braiding\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003cbr>\nNov. 8–Dec. 15, 2024\u003c/em>\u003c/p>\n\u003cp>Playwright Jocelyn Bioh is no stranger to Berkeley Rep, having premiered the musical \u003cem>Goddess\u003c/em> there in 2022. Her next visit to the East Bay is with Broadway’s sleeper hit of last fall, \u003cem>Jaja’s African Hair Braiding\u003c/em>, with Whitney White returning to the director’s chair in this co-production with Arena Stage and Chicago Shakespeare Theater. Bioh’s play is an exercise in joy with serious themes about immigration and access to the American dream, all fused with a scorching Afrobeat soundtrack of the genre’s biggest stars. The play also features one of the coolest stage effects in recent memory throughout the entire show, culminating in some true theater magic at the end.\u003c/p>\n\u003cfigure id=\"attachment_13963070\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg\" alt=\"\" width=\"1600\" height=\"1065\" class=\"size-full wp-image-13963070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-3-1536x1022.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley artistic director Giovanna Sardelli and Pulitzer-finalist playwright Rajiv Joseph have developed a long collaboration over the years. Joseph’s play ‘King James’ kicks of TheatreWorks’s 54th season. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.google.com/url?q=https://theatreworks.org/mainstage/king-james/\">King James\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003cbr>\nOct. 9–Nov. 3, 2024\u003c/em>\u003c/p>\n\u003cp>After the rousing success of the United States men’s national basketball team, capped by a thrilling finish and a gold medal, there’s no better time to dive into this story of two friends who enter into an unexpected connection. These men, whose fortunes run through the early, prodigious career of Lebron James, are the creation of Pulitzer-finalist playwright Rajiv Joseph. TheatreWorks’ artistic director Giovanna Sardelli, a frequent collaborator of Joseph, kicks off the company’s 54th season directing this tale of hoops and hopes.\u003c/p>\n\u003cfigure id=\"attachment_13963069\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg\" alt=\"\" width=\"1600\" height=\"1035\" class=\"size-full wp-image-13963069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-4-1536x994.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The New Conservatory Theatre Center cast of ‘Ride the Cyclone,’ a show described as ‘weird and wondrous.’\u003cbr> \u003ccite>(New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>New Conservatory Theatre Center, San Francisco\u003cbr>\nSept. 20–Oct. 20, 2024\u003c/em>\u003c/p>\n\u003cp>This grizzled and gritty musical follows a Canadian school choir group who perish on the Cyclone roller coaster — but, while in limbo, are offered a chance to return to life via a mechanical fortune teller. The piece has had a bit of a zany history since its 2008 premiere, created by Jacob Richmond and Brooke Maxwell. The musical’s success reached something of a zenith in 2022 – on TikTok, millions of Gen Z users began diving deep into \u003cem>Ride the Cyclone\u003c/em> songs, stories and lore. The musical is dark, but also quite fun, and its regional premiere gives the Bay Area a chance to see what the hype is all about.\u003c/p>\n\u003cfigure id=\"attachment_13963068\" class=\"wp-caption aligncenter\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg\" alt=\"\" width=\"1020\" height=\"679\" class=\"size-full wp-image-13963068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/unnamed-5-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob, seen here during the Marin Theatre Company production of ‘Dragon Lady’ in November of 2023, weaves a captivating tale of her grandmother’s perilous journey from Manila to the United States. Porkalob’s one-person show makes a return to the Bay Area via Walnut Creek at Center Rep. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lesherartscenter.org/programs/center-repertory-company\">Dragon Lady\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Center Repertory Company, Walnut Creek\u003cbr>\nOct. 27–Nov. 24, 2024\u003c/em>\u003c/p>\n\u003cp>Seattle’s Sara Porkalob is a piercing, shooting star, tackling the theater world on her own terms, and her trilogy of plays that chronicle the women in her life are produced all over the country. For those who missed her \u003ca href=\"https://www.kqed.org/arts/13938714/powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch\">critically acclaimed run\u003c/a> in Marin last fall of \u003cem>Dragon Lady\u003c/em>, where she morphs into multiple characters while showcasing her buttery singing voice, a second chance in Walnut Creek is a gift. Presented in association with Marin Theatre Company, Porkalob’s one-person show about her grandmother’s perilous and painful journey from Manila to the United States is a masterclass in how to command a theater space with splash and panache.\u003c/p>\n\u003cfigure id=\"attachment_13963076\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg\" alt=\"\" width=\"640\" height=\"360\" class=\"size-full wp-image-13963076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/TonyKushner-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Kushner’s ‘Angels in America’ gets a reimagined production from the Oakland Theater Project. \u003ccite>(Maury Phillips/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/angels\">Angels in America, Parts I and II\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project at Marin Shakespeare Company\u003cbr>\nSept. 27–Oct. 27, 2024\u003c/em>\u003c/p>\n\u003cp>For this interpretation of one of theater’s greatest achievements, Tony Kushner’s two-part opus \u003cem>Angels in America\u003c/em>, Oakland Theater Project goes on the road to San Rafael at Marin Shakespeare Company’s new indoor space. Kushner is not known for writing pieces that are slim, and over two plays, \u003cem>Angels\u003c/em> easily surpasses seven hours. But what exists within those hours is incredibly powerful, raw and utterly thrilling.\u003c/p>\n\u003cp>There are endless themes within this story about AIDS’ impact on multiple couples in 1985. The Pulitzer and Tony Award-winning play encompasses the taboo of homosexuality in the 1980s, the AIDS crisis that disproportionately impacted gay couples, and the crisis of religious faith, all intersecting with appearances by historical figures. The Bay Area is home to \u003cem>Angels in America\u003c/em> in many ways, from its initial commission at the former Eureka Theatre in San Francisco in 1990 to a hugely consequential production at Berkeley Rep in 2018. (Lisa Ramirez, featured in OTP’s production, also played The Angel in Berkeley that year.)\u003c/p>\n\u003cfigure id=\"attachment_13963077\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13963077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-141199711-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The Lizzie Borden case is fodder for a new punk musical. \u003ccite>(Bill Greene/The Boston Globe via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/lizzie-the-musical/\">Lizzie: The Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>6th Street Playhouse, Santa Rosa\u003cbr>\nOct. 4–27, 2024\u003c/em>\u003c/p>\n\u003cp>Lizzie Borden was accused of murdering her father and stepmother in 1892. In 1893, she was fully acquitted and lived the rest of her life in the same city the murders took place, Fall River, Massachusetts. And now, in Santa Rosa in 2024, her story is ready to shred at 6th Street Playhouse in the form of the 2009 rock musical. Expect all the components that make for a brutal tale of rage, sex, murder and mystery, plus power chords. \u003c/p>\n\u003cp>As a precursor to the bloody delights of the visceral musical’s sharp rock score, some gentler fare is going down at 6th Street, with the musical \u003cem>\u003ca href=\"https://6thstreetplayhouse.com/shows/2024-25/four-guys-named-jose-and-una-mujer-named-maria/\">4 Guys Named José…and Una Mujer Named María\u003c/a>\u003c/em> opening at the end of August.\u003c/p>\n\u003cfigure id=\"attachment_13963078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg\" alt=\"\" width=\"2000\" height=\"1231\" class=\"size-full wp-image-13963078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1020x628.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1536x945.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/AsYouLikeIt-1-1920x1182.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Jackson, left, takes on the joyful role of Rosalind, pursuing the love of Orlando, played by Wiley Naman Strasser, in Cal Shakes’s 50th anniversary production of William Shakespeare’s ‘As You Like It’ in Orinda. \u003ccite>(Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/asyoulikeit/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Bruns Amphitheater, Orinda\u003cbr>\nSept. 12–29, 2024\u003c/em>\u003c/p>\n\u003cp>Cal Shakes faced some serious uphill battles to produce their first full production in two years, implementing a fundraising campaign that netted $365,000 — over their stated goal. While the future of the company is still fluid (the fundraiser is only supplementing the budget for this production), the company is firmly focused this 50th anniversary production of William Shakespeare’s classic at their picturesque outdoor space.\u003c/p>\n\u003cp>Elizabeth Carter directs this pastoral comedy with one of Shakespeare’s most beloved female characters, Rosalind, who flees persecution in search of safety and love in the Forest of Arden, with many colorful characters entering her world along the way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"aligncenter size-full wp-image-13963079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Murakami-768x481.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.zspace.org/murakami\">Murakami: The Strange Library\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Space and Word for Word, San Francisco\u003cbr>\nNov. 13–Dec. 8, 2024\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A library best described as a nightmare is the setting for Haruki Murakami’s short novel \u003cem>The Strange Library\u003c/em>. With a lonely young boy, a mysterious girl and a tortured sheep man, the story is brought to life by Word for Word, a program of Z Space. The program has performed more than 70 stories since 1996, bringing theatrical flair to written word of all types. Lead teaching artist with the Youth Theater Project Lisa Hori-Garcia collaborates with Bay Area actor and designer Keiko Shimosato Carreiro to direct Murakami’s popular children’s story.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13963021/best-plays-musicals-bay-area-fall-2024-guide","authors":["11905"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_1238","arts_1237","arts_22281","arts_10278","arts_21781","arts_2323","arts_585","arts_1240"],"featImg":"arts_13963092","label":"source_arts_13963021"},"arts_13962790":{"type":"posts","id":"arts_13962790","meta":{"index":"posts_1716263798","site":"arts","id":"13962790","score":null,"sort":[1723836913000]},"guestAuthors":[],"slug":"kexp-bay-area-music-vinelands-kelley-stoltz","title":"A New KEXP Show, ‘Vinelands,’ Will Play New Bay Area Music","publishDate":1723836913,"format":"standard","headTitle":"A New KEXP Show, ‘Vinelands,’ Will Play New Bay Area Music | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There’s plenty to draw on when we think of Bay Area musical history. The 1960s were marked by psychedelic pop. A decade later, Sylvester ignited dance floors with his flare for disco synths. And later, legacy rock bands such as Metallica and Green Day emerged. \u003c/p>\n\u003cp>A new weekly radio show, called \u003cem>Vinelands\u003c/em>, wants to pay homage to these “golden ages” of Bay Area music — while highlighting emerging artists, says Kelley Stoltz, the show’s co-host and a San Francisco musician, whose 18th album came out in June and is known for guitar-laden psych pop tunes.\u003c/p>\n\u003cp>“We’re due for another deeper examination,” he said.\u003c/p>\n\u003cp>[aside postID='arts_13954030']\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A talk with longtime San Francisco musician Kelley Stoltz, co-host of the new radio show.","status":"publish","parent":0,"modified":1723836959,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":879},"headData":{"title":"A New KEXP Show, ‘Vinelands,’ Will Play New Bay Area Music | KQED","description":"A talk with longtime San Francisco musician Kelley Stoltz, co-host of the new radio show.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New KEXP Show, ‘Vinelands,’ Will Play New Bay Area Music","datePublished":"2024-08-16T12:35:13-07:00","dateModified":"2024-08-16T12:35:59-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/d4be9bc5-6b35-4ff5-9c5e-b1ce010a50d1/audio.mp3","sticky":false,"WpOldSlug":"kexp-bay-are-music-vinelands-kelley-stoltz","nprStoryId":"kqed-13962790","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962790/kexp-bay-area-music-vinelands-kelley-stoltz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty to draw on when we think of Bay Area musical history. The 1960s were marked by psychedelic pop. A decade later, Sylvester ignited dance floors with his flare for disco synths. And later, legacy rock bands such as Metallica and Green Day emerged. \u003c/p>\n\u003cp>A new weekly radio show, called \u003cem>Vinelands\u003c/em>, wants to pay homage to these “golden ages” of Bay Area music — while highlighting emerging artists, says Kelley Stoltz, the show’s co-host and a San Francisco musician, whose 18th album came out in June and is known for guitar-laden psych pop tunes.\u003c/p>\n\u003cp>“We’re due for another deeper examination,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954030","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Vinelands\u003c/em>, which premieres Saturday, comes on the heels of a \u003ca href=\"https://www.kqed.org/arts/13954030/kexp-san-francisco-bay-area-expansion-92-7-fm\">Bay Area expansion of KEXP\u003c/a>, a respected independent music station based in Seattle. Stoltz said when his own music was played on KEXP in the mid-aughts, it was a turning point in his career.\u003c/p>\n\u003cp>“I liken it to the applause you get at a live gig,” he added. “It’s that encouragement that you’re not just screaming in a void.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking with KQED’s Brian Watt, Stoltz talked about the vision for \u003cem>Vinelands\u003c/em> and gave a preview of the inaugural playlist. \u003c/p>\n\u003cp>\u003cem>Interview edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> \u003cstrong>The name of this show, I’m guessing there’s a reference to wine. But is there more to it than that?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kelley Stoltz\u003c/strong>: My co-host Gabriel Lopez and I had a meeting over coffee. We were just shooting names back and forth. Bing bong, bing bong. \u003cem>Vinelands\u003c/em> popped out, and I think in reference to Northern California, to Thomas Pynchon and science fiction. To me, it means it’s like a chain of community. And I think that works.\u003c/p>\n\u003cp>\u003cstrong>The Bay Area has produced a lot of great musicians over the years. But what’s exciting to you about the up-and-coming artists who are performing here nowadays?\u003c/strong>\u003c/p>\n\u003cp>There’s so many different kinds of music being explored by young people today. As a guitar-based singer-songwriter-type of person, my ears are always open to people who are doing that kind of music. There are bands [like] Chimes School, The Umbrellas. Maya has her own stuff and plays with a group called \u003ca href=\"https://www.kqed.org/news/11979776/mild-universe-connected-endlessly\">Mild Universe\u003c/a>. It’s vaguely psychedelic pop. It’s a touch of The Byrds, R.E.M. – with an awareness of early ’80s English music that’s made a big resurgence here, for whatever reason.\u003c/p>\n\u003cp>It’s evident to me that there is a whole new generation of people who are working hard and putting in the time and figuring out a way to make it work. It’s not easy in this economy. It never was really, even in the old days. But there are so many different genres being explored, and it’s just exciting to me.\u003c/p>\n\u003cfigure id=\"attachment_13962800\" class=\"wp-caption aligncenter\" style=\"max-width: 1418px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg\" alt=\"\" width=\"1418\" height=\"1360\" class=\"size-full wp-image-13962800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz.jpg 1418w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-800x767.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-1020x978.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/KelleyStoltz-768x737.jpg 768w\" sizes=\"(max-width: 1418px) 100vw, 1418px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a scene of Bay Area music that you feel is especially under-covered right now that you want to highlight on the show?\u003c/strong>\u003c/p>\n\u003cp>They’re all under-covered. I think mainstream radio tends to look for something to go to. This year it’s Seattle, then it’s Detroit, then it’s Bristol. It’s easier to focus on one thing, highlight it and explore it and then leave it. The Bay had its last golden age, 2008 to 2012. It got a lot of press. And I think we’re just six months, a year away from people going, ‘Whoa, there’s a lot going on there right now.’\u003c/p>\n\u003cp>\u003cstrong>What is on the playlist for this first show?\u003c/strong>\u003c/p>\n\u003cp>I’ve got Charles Brown, one of the greatest singers all of time. The Flaming Groovies, a band from the ’60s-’70s. They’re still playing today. “Shake Some Action” is probably the greatest power-pop song ever written; it’s the blueprint for 40 years of music. That’s a Bay Area invention. Sylvester. Patrick Kelly. How many people are still trying to achieve that sound and have that reach to all different kinds of people? Tower of Power, John Lee Hooker. It goes on.\u003c/p>\n\u003cp>The great thing about Gabriel and me is I’m deep over here. He’s deep over there. We don’t want to do a specialty show that’s focused on just Oakland R&B from 1982-83. It’s not indie rock, psychedelic music from the ’60s only. And I guess that’s where \u003cem>Vinelands\u003c/em> comes in. It’s this long line of growth from way back on up to today. And I think we want to explore all kinds of music. Luckily, KEXP is all about it. And I hope you discover something you never heard. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vinelands’ airs every Saturday from 6 p.m.–9 p.m. on KEXP at 92.7 FM, and streaming on \u003ca href=\"https://kexp.org/shows/vinelands/\">KEXP’s site\u003c/a>. The Seattle-based station is a tenant partner of KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962790/kexp-bay-area-music-vinelands-kelley-stoltz","authors":["11724","11238"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_22272","arts_989"],"featImg":"arts_13962797","label":"arts"},"arts_13962352":{"type":"posts","id":"arts_13962352","meta":{"index":"posts_1716263798","site":"arts","id":"13962352","score":null,"sort":[1723833233000]},"guestAuthors":[],"slug":"hiero-day-postponed-to-2025-amid-financial-difficulties","title":"Hiero Day Postponed to 2025 Amid Financial Difficulties","publishDate":1723833233,"format":"standard","headTitle":"Hiero Day Postponed to 2025 Amid Financial Difficulties | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>, the popular \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">annual hip-hop festival\u003c/a> in Oakland, has been canceled for 2024. Festival co-organizer and artist Tajai Massey told KQED that his team’s decision was due to financial difficulties, and that the event will return in 2025.\u003c/p>\n\u003cp>“We all sat down and regrouped and said, ‘Hey, let’s take some time, spend the entire year fundraising and then be ready for next year,’” said Massey, who produces Hiero Day with business partner Khari Bailey and a group of volunteers.\u003c/p>\n\u003cp>Part of those financial difficulties are debts incurred from 2023’s event, when Hiero Day threw a free, well-attended celebration for hip-hop’s 50th anniversary. Performers at the Labor Day event in Oakland’s Frank Ogawa Plaza included Chicago rapper Common, Massey’s group Hieroglyphics and other local artists, including Cellski and Kev Choice.\u003c/p>\n\u003cp>Hiero Day hired local company \u003ca href=\"https://www.ungaffableproductions.com/\">Ungaffable Productions\u003c/a> to provide the event’s stage production, operations and security. But company owner Tony Garcia alleges that Hiero Day still owes him $36,130 plus late fees for a range of services for Hiero Day 2023, including stages, sound systems and 125 staff members.\u003c/p>\n\u003cp>[aside postID='arts_13934324']A frustrated Garcia told KQED he’s had to cover the costs himself, and still doesn’t have a timeline for when he’ll be paid back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Unfortunately, what I’ve had to do here is max out my credit cards, take out personal loans and pretty much use all of my savings to pay off a bunch of people,” said Garcia. The situation has strained his relationship with business partners, he added, and required him to put in extra hours at his day job as a union carpenter to provide for his son.\u003c/p>\n\u003cp>“I’m not a bank,” Garcia said. “I’m not rich.”\u003c/p>\n\u003cp>Bailey, who handles Hiero Day’s finances, declined to be interviewed. In an email to KQED, he blamed Hiero Day’s debts, in part, on the City of Oakland, which he said contributed less sponsorship money than it had promised. He declined to say which city department promised the funding, how much was promised or how much Hiero Day ultimately received.\u003c/p>\n\u003cp>“Some of the funds we were told were earmarked for us ended up not being paid to us by the City, which is the amount owed to Ungaffable Productions,” Bailey wrote in the email.\u003c/p>\n\u003cp>“[Garcia] has a legitimate gripe. And all we’re trying to do is make good on it,” Massey said.\u003c/p>\n\u003cp>[aside postID='arts_13957786']When asked about the details of the City of Oakland’s sponsorship agreement with Hiero Day, Citywide Director of Communications & Engagement Sean Maher said in an email that the city waived police, fire inspection, custodial and other fees for the event, amounting to over $21,000. He wasn’t certain whether there were other discussions or arrangements about direct financial support, he said, and did not respond to multiple follow-up calls and emails.\u003c/p>\n\u003cp>Eleven months later, Garcia said he has no indication of when the money is coming. He’s filed complaints with the city attorney’s office, Labor Commissioner’s Office and Federal Trade Commission, and is considering legal action.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This isn’t the route I wanted to take,” he said. “But [Hiero Day] left me no other option but to make this public.”\u003c/p>\n\n","blocks":[],"excerpt":"Festival producers still owe a local production company more than $36,000 for last year's event. ","status":"publish","parent":0,"modified":1724087720,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":595},"headData":{"title":"Hiero Day Postponed to 2025 Amid Financial Difficulties | KQED","description":"Festival producers still owe a local production company more than $36,000 for last year's event. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hiero Day Postponed to 2025 Amid Financial Difficulties","datePublished":"2024-08-16T11:33:53-07:00","dateModified":"2024-08-19T10:15:20-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13962352","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962352/hiero-day-postponed-to-2025-amid-financial-difficulties","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.hieroday.com/\">Hiero Day\u003c/a>, the popular \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">annual hip-hop festival\u003c/a> in Oakland, has been canceled for 2024. Festival co-organizer and artist Tajai Massey told KQED that his team’s decision was due to financial difficulties, and that the event will return in 2025.\u003c/p>\n\u003cp>“We all sat down and regrouped and said, ‘Hey, let’s take some time, spend the entire year fundraising and then be ready for next year,’” said Massey, who produces Hiero Day with business partner Khari Bailey and a group of volunteers.\u003c/p>\n\u003cp>Part of those financial difficulties are debts incurred from 2023’s event, when Hiero Day threw a free, well-attended celebration for hip-hop’s 50th anniversary. Performers at the Labor Day event in Oakland’s Frank Ogawa Plaza included Chicago rapper Common, Massey’s group Hieroglyphics and other local artists, including Cellski and Kev Choice.\u003c/p>\n\u003cp>Hiero Day hired local company \u003ca href=\"https://www.ungaffableproductions.com/\">Ungaffable Productions\u003c/a> to provide the event’s stage production, operations and security. But company owner Tony Garcia alleges that Hiero Day still owes him $36,130 plus late fees for a range of services for Hiero Day 2023, including stages, sound systems and 125 staff members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934324","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A frustrated Garcia told KQED he’s had to cover the costs himself, and still doesn’t have a timeline for when he’ll be paid back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Unfortunately, what I’ve had to do here is max out my credit cards, take out personal loans and pretty much use all of my savings to pay off a bunch of people,” said Garcia. The situation has strained his relationship with business partners, he added, and required him to put in extra hours at his day job as a union carpenter to provide for his son.\u003c/p>\n\u003cp>“I’m not a bank,” Garcia said. “I’m not rich.”\u003c/p>\n\u003cp>Bailey, who handles Hiero Day’s finances, declined to be interviewed. In an email to KQED, he blamed Hiero Day’s debts, in part, on the City of Oakland, which he said contributed less sponsorship money than it had promised. He declined to say which city department promised the funding, how much was promised or how much Hiero Day ultimately received.\u003c/p>\n\u003cp>“Some of the funds we were told were earmarked for us ended up not being paid to us by the City, which is the amount owed to Ungaffable Productions,” Bailey wrote in the email.\u003c/p>\n\u003cp>“[Garcia] has a legitimate gripe. And all we’re trying to do is make good on it,” Massey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957786","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When asked about the details of the City of Oakland’s sponsorship agreement with Hiero Day, Citywide Director of Communications & Engagement Sean Maher said in an email that the city waived police, fire inspection, custodial and other fees for the event, amounting to over $21,000. He wasn’t certain whether there were other discussions or arrangements about direct financial support, he said, and did not respond to multiple follow-up calls and emails.\u003c/p>\n\u003cp>Eleven months later, Garcia said he has no indication of when the money is coming. He’s filed complaints with the city attorney’s office, Labor Commissioner’s Office and Federal Trade Commission, and is considering legal action.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This isn’t the route I wanted to take,” he said. “But [Hiero Day] left me no other option but to make this public.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962352/hiero-day-postponed-to-2025-amid-financial-difficulties","authors":["11387"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_8505","arts_10278","arts_22068","arts_1088","arts_2284","arts_1694"],"featImg":"arts_13934344","label":"arts"},"arts_13962395":{"type":"posts","id":"arts_13962395","meta":{"index":"posts_1716263798","site":"arts","id":"13962395","score":null,"sort":[1723763934000]},"guestAuthors":[],"slug":"bay-area-athletes-paralympic-games-paris-2024","title":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","publishDate":1723763934,"format":"standard","headTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>[aside postid='news_11993783']Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>[aside postid='arts_13962267']“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ULkzw9KB17c\u003c/p>\n\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>[aside postid='arts_13962574']Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Meet our local Paralympians, including a UC Berkeley biochemistry student, a volleyball coach and a Davis ICU nurse. ","status":"publish","parent":0,"modified":1724956352,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1259},"headData":{"title":"Paris 2024 Paralympic Games: Bay Area Athletes to Watch | KQED","description":"Meet our local Paralympians, including a UC Berkeley biochemistry student, a volleyball coach and a Davis ICU nurse. ","ogTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","ogDescription":"","ogImgId":"","twTitle":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","twDescription":"","twImgId":"","socialTitle":"Paris 2024 Paralympic Games: Bay Area Athletes to Watch %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Athletes to Watch at the Paris 2024 Paralympic Games","datePublished":"2024-08-15T16:18:54-07:00","dateModified":"2024-08-29T11:32:32-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13962395","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962395/bay-area-athletes-paralympic-games-paris-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11993783","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"(max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962267","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\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/ULkzw9KB17c'\n title='//www.youtube.com/embed/ULkzw9KB17c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13962574","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962395/bay-area-athletes-paralympic-games-paris-2024","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_235","arts_75","arts_13238"],"tags":["arts_10342","arts_10278","arts_3920","arts_22271","arts_22239","arts_585"],"featImg":"arts_13962403","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","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. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","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. 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