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"disqusTitle": "Live Review: Beyoncé, Unexplainable Celestial Being, Slays at Levi's Stadium",
"title": "Live Review: Beyoncé, Unexplainable Celestial Being, Slays at Levi's Stadium",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The next time I hear someone suggest Beyoncé doesn’t deserve to be taken seriously as an artist because she’s a pop star, or because there are other writers credited on her new album, I’m going to punch them in the mouth.\u003c/p>\n\u003cp>Note: I don't actually condone physical violence, and would certainly never suggest it as the appropriate response to an incorrect Pop Culture Opinion. Still, that was the first complete-sentence thought I managed to sputter out loud last night, as I sat in bumper-to-bumper traffic with roughly 50,000 other people, every one of us just trying to inch a half-mile outside of Levi’s Stadium as the clock struck midnight and it turned from May 16 to May 17, with damn near every person in every car dazed, drained, energized, aglow, and grinning ear-to-ear as though, perhaps, we'd all just witnessed the Apollo 11 moon landing. Live. From the moon.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24593\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg\" alt=\"FullSizeRender (6)\" width=\"800\" height=\"652\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-400x326.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-768x626.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1440x1174.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1920x1566.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1180x962.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-960x783.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not just that the \"she's not a real artist\" argument, which handily strips Beyoncé of any shred of agency, is boring and sexist (though it is both of those things, and if you have a few hours I'm more than happy to talk about it over drinks). But more importantly: after watching the most famous woman in the country work harder and tougher and more joyfully than I’ve ever seen any human work on a stage before -- and we’re talking \u003ci>hard\u003c/i> calisthenics, for two straight hours, in a series of high-heeled boots and glittery, thong-bottomed jumpsuits, long curls loose and flying, while belting her way through more than 30 songs from her 17-year career, all without once sounding out of breath -- it's also never been more obvious why it's wrong.\u003c/p>\n\u003cp>“If you’re proud of who you are, say ‘I slay,’” said B early in the evening, smiling and scanning the stadium, assessing her crowd as it roared to life. We'd been treated to Too $hort, E-40 and DJ Khaled while we waited, which in most other circumstances would be quite the show, full-stop, in and of itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not here.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24584\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg\" alt=\"Beyonce.Flames\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“If you’re proud of where you come from, say ‘I slay,’” said B.\u003c/p>\n\u003cp>\u003ci>I SLAY!\u003c/i> we told her, most of us sounding pretty dumb, because Beyoncé is one of the few people alive who sounds cool when she says \"I slay.\" No matter. She had just emerged from a rotating, skyscraper-sized cube made of LED lights; she had a team of eight acrobatically gifted women dancing behind her; a tireless female drummer to her right and a ferocious female bassist to her left, and a Super Bowl-sized stadium of followers screaming her name in every other direction.\u003c/p>\n\u003cp>Group therapy had commenced.\u003c/p>\n\u003cfigure id=\"attachment_24588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24588 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg\" alt=\"Beyonce.fire\" width=\"800\" height=\"1197\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-400x599.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-768x1149.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-1180x1766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-960x1437.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_.jpg 1283w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \"Formation,\" the politically charged call to arms that sent football fans \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/02/18/the-beyonce-backlash-continues-sheriff-cites-super-bowl-show-after-shooting-near-home/\" target=\"_blank\">clutching for their pearls\u003c/a> when she stole Coldplay's show with it at the aforementioned Big Ol' American Sports Event at Levi's in February, Beyoncé dove full-speed into a set that leaned heavily on \u003cem>Lemonade\u003c/em>, her much-discussed, barely three-week old manifesto about love and pain and infidelity and the messy realities of being a woman, not to mention an obscenely famous woman of color, in America.\u003c/p>\n\u003cp>\"Sorry\" saw thousands of middle fingers in the air, waving with a gusto that suggested the fingers themselves had been waiting patiently for years to do just that. \"Hold Up\" was jaunty testimony as much as it was an admonition, a map of hurt and marital betrayal, even as she segued easily into the relationship celebration of \"Countdown\" and strutted athletically down a catwalk into the middle of the crowd. \"Don't Hurt Yourself\" invited the most committed, gleeful headbanging I've ever seen from an R&B or pop star, helped in no small part by Beyoncé's (again, female) electric guitarist standing in for Jack White, wailing through heavily distorted riffs, rocking an Afro and shredded jeans.\u003c/p>\n\u003cp>\"This is a song about the most important relationship in your life, and that's the one you have with yourself,\" Beyoncé said by way of introducing \"Me Myself and I,\" off her debut solo album, somehow managing to sound earnest while also staying on message with the precision of a knife-thrower. \"Every other relationship is just a bonus.\"\u003c/p>\n\u003cfigure id=\"attachment_24586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24586 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg\" alt=\"Beyonce.WithDancers\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1180x812.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-960x661.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>With a few other exceptions -- \"Flawless\" was a beast of a performance; \"Crazy In Love\" opened with a dark, ominous downtempo rendition that emphasized the negative connotations of \"crazy\" before B flashed a smile and jumped into its rightful pace; the sloppy, sexy devotion of \"Drunk In Love\" also took on a new gravity in light of the cracks we've now seen in its central relationship -- songs from previous albums got shorter treatments. Destiny's Child tracks, in particular, became something like a tangled teaser-medley of lyrics about independent ladies and survivors and jelly (\u003cem>this\u003c/em> jelly, to be specific, and whether or not you're ready for it).\u003c/p>\n\u003cp>As the show charged on, my initial frustration at the medley approach to early songs was outweighed by the power of juxtaposition; nothing highlights how much she's grown like hearing 2003's \"Baby Boy\" (ft. Sean Paul, though this show did not, thankfully, feature Sean Paul) in close proximity to the layered, orchestral, triumphant \"All Night\" -- which Beyoncé referred to as her favorite song to sing from the new album, because \"it's about redemption.\" (See: knife-thrower storyline crafting, above.)\u003c/p>\n\u003cp>That juxtaposition also helped to eliminate any doubt that this woman can carry a stadium show by herself. Not only was Jay Z conspicuously missing from the premises, his parts were actually removed from her songs -- and I didn't miss them. In the same vein, the sets were certainly big visually (video clips from \u003cem>Lemonade\u003c/em>, aerial dancers and complicated platforms of various sizes, fireworks, more than a half-dozen costume changes). But it was tough not to draw a comparison to Taylor Swift's '1989' tour, which also came to Levi's Stadium, and during which the stage became something like the set for an \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">over-the-top, Taylor Swift-themed musical\u003c/a>; the dancers and complex video elements at that performance seemed crucial to making it interesting enough to last two hours.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24595\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1440x1042.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1920x1390.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Beyoncé's on stage, you don't need much else. I never got to see Michael Jackson live, but I have to imagine it was a little like this. (\"Hey, this is cool, but let's add some more grandiose set design just so people have something else to look at while Michael's dancing,\" said no artistic director ever.)\u003c/p>\n\u003cp>As the evening wound to a close, B disappeared and reemerged in white, her dancers stone-faced, bound in costumes that looked like rope. Together, barefoot, they took to a rectangular, ankle-deep pool of water at the edge of the catwalk to dance for the duration of \"Freedom,\" the drum-driven, heart-pounding Kendrick Lamar collaboration on \u003cem>Lemonade\u003c/em>. Hair was flying, water was flying, arms and legs took the shape of wings. It looked primal. It looked like liberation. It looked exhausting.\u003c/p>\n\u003cp>\"You know, she doesn't \u003cem>have\u003c/em> to work this hard,\" I yelled to my friend, as her dancers left and Beyoncé closed the show solo, still barefoot, with \"Halo.\" \"She's not even lip-syncing!\" my friend yelled back, and it was true: Beyoncé was clearly singing her ass off, all while doing squats and lunges and high-kicks in heels for, let me repeat it, 120 minutes straight.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-24596\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-5.jpg\" alt=\"FullSizeRender (5)\" width=\"640\" height=\"632\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-400x395.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-96x96.jpg 96w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>But the thought I woke up with this morning -- after three hours of traffic and three and a half hours of sleep -- was something like: Actually, she \u003cem>does\u003c/em> have to work that hard. Because the more \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/05/03/every-track-on-beyonces-lemonade-debuts-on-billboard-hot-100-as-radiohead-fades-out-or-maybe-not/\" target=\"_blank\">records she breaks\u003c/a>, the more people are waiting for her to slip. No matter \u003cem>what\u003c/em> she does, people will line up to say she doesn't deserve her success, that she's a pretty lady pop star propped up by shrewd male writers and producers; to proclaim that her newfound public political consciousness is just a well-crafted but disingenuous marketing ploy, instead of entertaining the possibility that a 34-year-old performer who's been in the spotlight since age 16 might grow up and develop fresh ideas and want to go in new directions, and that doing all of that on an international stage will obviously, at times, get messy.\u003c/p>\n\u003cp>But whether it was calculated or genuine or somewhere in between, the sparkle of a tear in Beyoncé's eye as she put her hand to her chest, looked around the stadium, and smiled a gracious, humble, goddamn beautiful smile before saying \"thank you\" one last time and disappearing below the stage said everything I needed to know about what \u003cem>she\u003c/em> thinks she deserves. She might not have always been clear on that. It might have even taken heartbreak for her to see it.\u003c/p>\n\u003cp>And if that's not proof that the personal is political -- especially, yes, if you're a woman, and \u003cem>especially\u003c/em> if you're an obscenely famous woman of color in America -- I sure as hell don't know what is.\u003c/p>\n\u003cp>--\u003cimg class=\"aligncenter size-medium wp-image-24597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg\" alt=\"FullSizeRender (10)\" width=\"800\" height=\"595\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-768x571.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1440x1071.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1920x1427.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1180x877.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-960x714.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Some non-\u003cem>Lemonade\u003c/em> highlights and stray thoughts:\u003c/p>\n\u003cul>\n\u003cli>Would be remiss not to mention the gut-punch-emotional cover of Prince's \"The Beautiful Ones\" that ended with B on all fours, belting into the mic like it was a lifeline, followed by a set break/costume change during which the LED skyscraper glowed purple, the entirety of \"Purple Rain\" blasted over the sound system, and confetti fell from the sky while nearly 50,000 cell phone lights swayed from side to side.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Also, a chorus from D'Angelo's \"Untitled (How Does It Feel)\" popping up in the midst of \"Rocket.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On at least three separate occasions when Beyoncé crouched down and invited the front row to sing into the microphone, the crowd members who apparently grabbed said opportunity were adult men who then growl-yelled the next lyric so forcefully that she started cracking up.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Waiting to see how many Beyoncé-sweat covered towels show up on eBay in the next week or two, as she obliged at least five or six fans who offered relief from the front row.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The parking situation was a nightmare both on the way in and the way out. Also, the \u003ca href=\"http://www.nfl.com/qs/allclear/index.jsp\" target=\"_blank\">NFL's idiotic no-purse policy\u003c/a>, under which Levi's Stadium employees offer concert-goers clear plastic bags to hold their possessions, contributed to an interesting \"turning over your affects as you arrive at prison\" feeling. Beyoncé prison, though. It's way better than regular prison.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>It's pretty well understood that the wages of superstardom in this country involve giving up any semblance of privacy; that once you reach a certain level of fame, people are going to pick apart, criticize, and capitalize on your personal life whether you like it or not. Wrapping up the hungered-for \"personal story\" in a shiny bow and demanding payment for it the way Beyoncé has with this record and tour is one of the smartest chess moves in pop music history, and I don't care whose idea you think it was.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>As the throngs of people shoved toward the exits, a man \u003ca href=\"https://twitter.com/gmeline/status/732459633848127490\" target=\"_blank\">got down on one knee and proposed to his girlfriend\u003c/a>, prompting shrieks from about a hundred people nearby. She said yes, of course, and they hugged. Then a quick-witted bystander offered the bride-to-be some sage advice: \"Take his ass to Red Lobster!\" Really hope she did.\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beyoncé's Formation Tour returns to Levi's Stadium on Sept. 17. \u003ca href=\"http://www.ticketmaster.com/event/1C0050948EE32832?CAMEFROM=CFC_49ERS_WEB_LS_EVENT\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At the Bay Area stop of her ‘Lemonade’ tour, Beyoncé twirls on her haters in a joyful, two-hour communion of artistry and endurance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The next time I hear someone suggest Beyoncé doesn’t deserve to be taken seriously as an artist because she’s a pop star, or because there are other writers credited on her new album, I’m going to punch them in the mouth.\u003c/p>\n\u003cp>Note: I don't actually condone physical violence, and would certainly never suggest it as the appropriate response to an incorrect Pop Culture Opinion. Still, that was the first complete-sentence thought I managed to sputter out loud last night, as I sat in bumper-to-bumper traffic with roughly 50,000 other people, every one of us just trying to inch a half-mile outside of Levi’s Stadium as the clock struck midnight and it turned from May 16 to May 17, with damn near every person in every car dazed, drained, energized, aglow, and grinning ear-to-ear as though, perhaps, we'd all just witnessed the Apollo 11 moon landing. Live. From the moon.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24593\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg\" alt=\"FullSizeRender (6)\" width=\"800\" height=\"652\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-400x326.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-768x626.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1440x1174.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1920x1566.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1180x962.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-960x783.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not just that the \"she's not a real artist\" argument, which handily strips Beyoncé of any shred of agency, is boring and sexist (though it is both of those things, and if you have a few hours I'm more than happy to talk about it over drinks). But more importantly: after watching the most famous woman in the country work harder and tougher and more joyfully than I’ve ever seen any human work on a stage before -- and we’re talking \u003ci>hard\u003c/i> calisthenics, for two straight hours, in a series of high-heeled boots and glittery, thong-bottomed jumpsuits, long curls loose and flying, while belting her way through more than 30 songs from her 17-year career, all without once sounding out of breath -- it's also never been more obvious why it's wrong.\u003c/p>\n\u003cp>“If you’re proud of who you are, say ‘I slay,’” said B early in the evening, smiling and scanning the stadium, assessing her crowd as it roared to life. We'd been treated to Too $hort, E-40 and DJ Khaled while we waited, which in most other circumstances would be quite the show, full-stop, in and of itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not here.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24584\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg\" alt=\"Beyonce.Flames\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“If you’re proud of where you come from, say ‘I slay,’” said B.\u003c/p>\n\u003cp>\u003ci>I SLAY!\u003c/i> we told her, most of us sounding pretty dumb, because Beyoncé is one of the few people alive who sounds cool when she says \"I slay.\" No matter. She had just emerged from a rotating, skyscraper-sized cube made of LED lights; she had a team of eight acrobatically gifted women dancing behind her; a tireless female drummer to her right and a ferocious female bassist to her left, and a Super Bowl-sized stadium of followers screaming her name in every other direction.\u003c/p>\n\u003cp>Group therapy had commenced.\u003c/p>\n\u003cfigure id=\"attachment_24588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24588 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg\" alt=\"Beyonce.fire\" width=\"800\" height=\"1197\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-400x599.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-768x1149.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-1180x1766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-960x1437.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_.jpg 1283w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \"Formation,\" the politically charged call to arms that sent football fans \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/02/18/the-beyonce-backlash-continues-sheriff-cites-super-bowl-show-after-shooting-near-home/\" target=\"_blank\">clutching for their pearls\u003c/a> when she stole Coldplay's show with it at the aforementioned Big Ol' American Sports Event at Levi's in February, Beyoncé dove full-speed into a set that leaned heavily on \u003cem>Lemonade\u003c/em>, her much-discussed, barely three-week old manifesto about love and pain and infidelity and the messy realities of being a woman, not to mention an obscenely famous woman of color, in America.\u003c/p>\n\u003cp>\"Sorry\" saw thousands of middle fingers in the air, waving with a gusto that suggested the fingers themselves had been waiting patiently for years to do just that. \"Hold Up\" was jaunty testimony as much as it was an admonition, a map of hurt and marital betrayal, even as she segued easily into the relationship celebration of \"Countdown\" and strutted athletically down a catwalk into the middle of the crowd. \"Don't Hurt Yourself\" invited the most committed, gleeful headbanging I've ever seen from an R&B or pop star, helped in no small part by Beyoncé's (again, female) electric guitarist standing in for Jack White, wailing through heavily distorted riffs, rocking an Afro and shredded jeans.\u003c/p>\n\u003cp>\"This is a song about the most important relationship in your life, and that's the one you have with yourself,\" Beyoncé said by way of introducing \"Me Myself and I,\" off her debut solo album, somehow managing to sound earnest while also staying on message with the precision of a knife-thrower. \"Every other relationship is just a bonus.\"\u003c/p>\n\u003cfigure id=\"attachment_24586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24586 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg\" alt=\"Beyonce.WithDancers\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1180x812.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-960x661.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>With a few other exceptions -- \"Flawless\" was a beast of a performance; \"Crazy In Love\" opened with a dark, ominous downtempo rendition that emphasized the negative connotations of \"crazy\" before B flashed a smile and jumped into its rightful pace; the sloppy, sexy devotion of \"Drunk In Love\" also took on a new gravity in light of the cracks we've now seen in its central relationship -- songs from previous albums got shorter treatments. Destiny's Child tracks, in particular, became something like a tangled teaser-medley of lyrics about independent ladies and survivors and jelly (\u003cem>this\u003c/em> jelly, to be specific, and whether or not you're ready for it).\u003c/p>\n\u003cp>As the show charged on, my initial frustration at the medley approach to early songs was outweighed by the power of juxtaposition; nothing highlights how much she's grown like hearing 2003's \"Baby Boy\" (ft. Sean Paul, though this show did not, thankfully, feature Sean Paul) in close proximity to the layered, orchestral, triumphant \"All Night\" -- which Beyoncé referred to as her favorite song to sing from the new album, because \"it's about redemption.\" (See: knife-thrower storyline crafting, above.)\u003c/p>\n\u003cp>That juxtaposition also helped to eliminate any doubt that this woman can carry a stadium show by herself. Not only was Jay Z conspicuously missing from the premises, his parts were actually removed from her songs -- and I didn't miss them. In the same vein, the sets were certainly big visually (video clips from \u003cem>Lemonade\u003c/em>, aerial dancers and complicated platforms of various sizes, fireworks, more than a half-dozen costume changes). But it was tough not to draw a comparison to Taylor Swift's '1989' tour, which also came to Levi's Stadium, and during which the stage became something like the set for an \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">over-the-top, Taylor Swift-themed musical\u003c/a>; the dancers and complex video elements at that performance seemed crucial to making it interesting enough to last two hours.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24595\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1440x1042.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1920x1390.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Beyoncé's on stage, you don't need much else. I never got to see Michael Jackson live, but I have to imagine it was a little like this. (\"Hey, this is cool, but let's add some more grandiose set design just so people have something else to look at while Michael's dancing,\" said no artistic director ever.)\u003c/p>\n\u003cp>As the evening wound to a close, B disappeared and reemerged in white, her dancers stone-faced, bound in costumes that looked like rope. Together, barefoot, they took to a rectangular, ankle-deep pool of water at the edge of the catwalk to dance for the duration of \"Freedom,\" the drum-driven, heart-pounding Kendrick Lamar collaboration on \u003cem>Lemonade\u003c/em>. Hair was flying, water was flying, arms and legs took the shape of wings. It looked primal. It looked like liberation. It looked exhausting.\u003c/p>\n\u003cp>\"You know, she doesn't \u003cem>have\u003c/em> to work this hard,\" I yelled to my friend, as her dancers left and Beyoncé closed the show solo, still barefoot, with \"Halo.\" \"She's not even lip-syncing!\" my friend yelled back, and it was true: Beyoncé was clearly singing her ass off, all while doing squats and lunges and high-kicks in heels for, let me repeat it, 120 minutes straight.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-24596\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-5.jpg\" alt=\"FullSizeRender (5)\" width=\"640\" height=\"632\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-400x395.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-96x96.jpg 96w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>But the thought I woke up with this morning -- after three hours of traffic and three and a half hours of sleep -- was something like: Actually, she \u003cem>does\u003c/em> have to work that hard. Because the more \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/05/03/every-track-on-beyonces-lemonade-debuts-on-billboard-hot-100-as-radiohead-fades-out-or-maybe-not/\" target=\"_blank\">records she breaks\u003c/a>, the more people are waiting for her to slip. No matter \u003cem>what\u003c/em> she does, people will line up to say she doesn't deserve her success, that she's a pretty lady pop star propped up by shrewd male writers and producers; to proclaim that her newfound public political consciousness is just a well-crafted but disingenuous marketing ploy, instead of entertaining the possibility that a 34-year-old performer who's been in the spotlight since age 16 might grow up and develop fresh ideas and want to go in new directions, and that doing all of that on an international stage will obviously, at times, get messy.\u003c/p>\n\u003cp>But whether it was calculated or genuine or somewhere in between, the sparkle of a tear in Beyoncé's eye as she put her hand to her chest, looked around the stadium, and smiled a gracious, humble, goddamn beautiful smile before saying \"thank you\" one last time and disappearing below the stage said everything I needed to know about what \u003cem>she\u003c/em> thinks she deserves. She might not have always been clear on that. It might have even taken heartbreak for her to see it.\u003c/p>\n\u003cp>And if that's not proof that the personal is political -- especially, yes, if you're a woman, and \u003cem>especially\u003c/em> if you're an obscenely famous woman of color in America -- I sure as hell don't know what is.\u003c/p>\n\u003cp>--\u003cimg class=\"aligncenter size-medium wp-image-24597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg\" alt=\"FullSizeRender (10)\" width=\"800\" height=\"595\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-768x571.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1440x1071.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1920x1427.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1180x877.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-960x714.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Some non-\u003cem>Lemonade\u003c/em> highlights and stray thoughts:\u003c/p>\n\u003cul>\n\u003cli>Would be remiss not to mention the gut-punch-emotional cover of Prince's \"The Beautiful Ones\" that ended with B on all fours, belting into the mic like it was a lifeline, followed by a set break/costume change during which the LED skyscraper glowed purple, the entirety of \"Purple Rain\" blasted over the sound system, and confetti fell from the sky while nearly 50,000 cell phone lights swayed from side to side.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Also, a chorus from D'Angelo's \"Untitled (How Does It Feel)\" popping up in the midst of \"Rocket.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On at least three separate occasions when Beyoncé crouched down and invited the front row to sing into the microphone, the crowd members who apparently grabbed said opportunity were adult men who then growl-yelled the next lyric so forcefully that she started cracking up.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Waiting to see how many Beyoncé-sweat covered towels show up on eBay in the next week or two, as she obliged at least five or six fans who offered relief from the front row.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The parking situation was a nightmare both on the way in and the way out. Also, the \u003ca href=\"http://www.nfl.com/qs/allclear/index.jsp\" target=\"_blank\">NFL's idiotic no-purse policy\u003c/a>, under which Levi's Stadium employees offer concert-goers clear plastic bags to hold their possessions, contributed to an interesting \"turning over your affects as you arrive at prison\" feeling. Beyoncé prison, though. It's way better than regular prison.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>It's pretty well understood that the wages of superstardom in this country involve giving up any semblance of privacy; that once you reach a certain level of fame, people are going to pick apart, criticize, and capitalize on your personal life whether you like it or not. Wrapping up the hungered-for \"personal story\" in a shiny bow and demanding payment for it the way Beyoncé has with this record and tour is one of the smartest chess moves in pop music history, and I don't care whose idea you think it was.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>As the throngs of people shoved toward the exits, a man \u003ca href=\"https://twitter.com/gmeline/status/732459633848127490\" target=\"_blank\">got down on one knee and proposed to his girlfriend\u003c/a>, prompting shrieks from about a hundred people nearby. She said yes, of course, and they hugged. Then a quick-witted bystander offered the bride-to-be some sage advice: \"Take his ass to Red Lobster!\" Really hope she did.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyoncé's Formation Tour returns to Levi's Stadium on Sept. 17. \u003ca href=\"http://www.ticketmaster.com/event/1C0050948EE32832?CAMEFROM=CFC_49ERS_WEB_LS_EVENT\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"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.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
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