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"title": "Learning About Kurt Cobain, Freddie Mercury and Beyoncé From Their Denim",
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"content": "\u003cfigure id=\"attachment_13983989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png\" alt=\"A pair of ripped and patched-up blue jeans stand on mannequin legs in the center of a display, in front of a photo of Kurt Cobain from Nirvana, performing on stage.\" width=\"2000\" height=\"1873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-160x150.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-768x719.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-1536x1438.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Levi’s 501 jeans worn by Kurt Cobain, including in the video for ‘Heart-Shaped Box.’ \u003ccite>(Loaned by Tom Coyne/David Fenton for Levi’s/Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pop music is full of references to denim. From the opening lyrics of \u003ca href=\"https://www.kqed.org/arts/13858541/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\">Elton John\u003c/a>’s “Tiny Dancer” — “Blue jean baby” — to Flo Rida’s ode to an Apple Bottoms pair in “Low.”\u003c/p>\n\u003cp>But musicians don’t just sing about jeans. They also live in them. And those garments sometimes reveal intriguing details about the people who wear them, as the new \u003ca href=\"https://www.levistrauss.com/2025/11/05/levis-vault-reopens/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amped: Music Icons in Levi’s Denim\u003c/em>\u003c/a> exhibition at Levi’s headquarters in San Francisco shows.\u003c/p>\n\u003cp>[aside postid='arts_13982946']One of the exhibition’s marquee items is a pair of Levi’s 501s once owned by \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a>. The late Nirvana frontman’s jeans set a \u003ca href=\"https://www.guinnessworldrecords.com/world-records/most-expensive-jeans\" target=\"_blank\" rel=\"noopener\">Guinness World Record\u003c/a> in 2023 when they sold for more than $412,750 at a Nashville auction.\u003c/p>\n\u003cp>Tracey Panek was there. “I was bidding on it,” Levi’s in-house historian and archivist told NPR. “But sadly one of my rivals got it.”\u003c/p>\n\u003cp>The winning bidder, private collector Tom Coyne, agreed to loan the jeans to Levi’s for the exhibition. Cobain wore them on many occasions during the 1990s, including on the video for “Heart-Shaped Box.” They show a lot of wear. There are heavy stains, rips and patches, including a colorful psychedelic print lining the hem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n6P0SitRwy8\u003c/p>\n\u003cp>“They’re just a signature grunge-looking pair of jeans,” Panek said.\u003c/p>\n\u003cp>The pants also tell more subtle stories.\u003c/p>\n\u003cp>Panek points to faded, upside-down lettering on the right leg — a four-letter word beginning with F — scribbled on a patch. While the artist was famously a left-handed guitarist, Panek said the scrawl suggests Cobain was actually ambidextrous. “You can tell he was writing with his right hand while he was seated,” she said.\u003c/p>\n\u003cp>Other pieces in the exhibition offer very different portraits of their famous owners.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3024x4032+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2F08%2Fc3c96cb74b25b4cb5ae66fcc69b6%2Ffreddiemercury.jpeg\" alt=\"Freddie Mercury's 1980s 501 Original jeans hint at the Queen frontman's tidiness.\">\u003cfigcaption>Freddie Mercury’s 1980s 501 Original jeans hint at the Queen frontman’s tidiness. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sharp creases in a pair of slim-fitting, light blue jeans once owned by \u003ca href=\"https://www.kqed.org/arts/12032484/asteroid-named-for-freddie-mercury-is-announced-on-his-birthday\">Freddie Mercury\u003c/a> say something about the Queen vocalist’s fastidiousness. “I think he ironed these,” Panek said.\u003c/p>\n\u003cp>[aside postid='arts_13981914']Meanwhile a rhinestone-festooned, western-style denim pants and matching jacket worn by \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in a recent Levi’s advertising campaign highlight Queen Bey’s penchant as a performer for upending traditional white, male tropes. “She challenges a pool shark to a shootout,” said Panek, describing one of the \u003ca href=\"https://www.youtube.com/watch?v=y2o2FuqMtxI\" target=\"_blank\" rel=\"noopener\">ads\u003c/a> set to Beyoncé’s 2024 song “Levii’s Jeans.” “Of course, she wins hands down, and demands that her rival give up his Levi’s.”\u003c/p>\n\u003cp>Mary Davis, a fashion historian and musicologist at Yale University, said musicians use denim in many different ways to construct identity and share messages.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1692x3006+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffe%2F04%2Fdb8047a84ed08e974bacaf770f3d%2Fbeyonce-4.jpg\" alt=\"Beyoncé's Levi's 501 Curve Jeans & Levi's Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi's, having performed the song 'Levii's Jeans' on her album Cowboy Carter.\">\u003cfigcaption>Beyoncé’s Levi’s 501 Curve Jeans & Levi’s Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi’s, having performed the song “Levii’s Jeans” on her album \u003cem>Cowboy Carter\u003c/em>. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a way in which you can see denim being almost a blank canvas for anything that anybody wants to make it,” Davis said.\u003c/p>\n\u003cp>[aside postid='arts_13983862']Davis points to Bruce Springsteen’s 1984 album \u003cem>Born in the U.S.A.\u003c/em>, with its songs about the struggles of the working class — and its memorable album cover. It shows Springsteen from behind in worn blue Levi’s, a white T-shirt and a red baseball cap stuffed into a back pocket.\u003c/p>\n\u003cp>Davis said the photograph draws a potent line between denim’s 19th century workwear roots and the troubadour of late twentieth century labor. “He’s making a statement there,” Davis said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Amped: Music Icons in Levi’s® Denim’ is on view now (Tuesdays through Thursdays, 10 a.m. to 4 p.m.) through December 18, 2025 at the Levi’s museum located inside the company headquarters (1155 Battery St., San Francisco). Admission is free.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the exhibition’s marquee items is a pair of Levi’s 501s once owned by \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a>. The late Nirvana frontman’s jeans set a \u003ca href=\"https://www.guinnessworldrecords.com/world-records/most-expensive-jeans\" target=\"_blank\" rel=\"noopener\">Guinness World Record\u003c/a> in 2023 when they sold for more than $412,750 at a Nashville auction.\u003c/p>\n\u003cp>Tracey Panek was there. “I was bidding on it,” Levi’s in-house historian and archivist told NPR. “But sadly one of my rivals got it.”\u003c/p>\n\u003cp>The winning bidder, private collector Tom Coyne, agreed to loan the jeans to Levi’s for the exhibition. Cobain wore them on many occasions during the 1990s, including on the video for “Heart-Shaped Box.” They show a lot of wear. There are heavy stains, rips and patches, including a colorful psychedelic print lining the hem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n6P0SitRwy8'\n title='//www.youtube.com/embed/n6P0SitRwy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They’re just a signature grunge-looking pair of jeans,” Panek said.\u003c/p>\n\u003cp>The pants also tell more subtle stories.\u003c/p>\n\u003cp>Panek points to faded, upside-down lettering on the right leg — a four-letter word beginning with F — scribbled on a patch. While the artist was famously a left-handed guitarist, Panek said the scrawl suggests Cobain was actually ambidextrous. “You can tell he was writing with his right hand while he was seated,” she said.\u003c/p>\n\u003cp>Other pieces in the exhibition offer very different portraits of their famous owners.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3024x4032+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2F08%2Fc3c96cb74b25b4cb5ae66fcc69b6%2Ffreddiemercury.jpeg\" alt=\"Freddie Mercury's 1980s 501 Original jeans hint at the Queen frontman's tidiness.\">\u003cfigcaption>Freddie Mercury’s 1980s 501 Original jeans hint at the Queen frontman’s tidiness. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sharp creases in a pair of slim-fitting, light blue jeans once owned by \u003ca href=\"https://www.kqed.org/arts/12032484/asteroid-named-for-freddie-mercury-is-announced-on-his-birthday\">Freddie Mercury\u003c/a> say something about the Queen vocalist’s fastidiousness. “I think he ironed these,” Panek said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile a rhinestone-festooned, western-style denim pants and matching jacket worn by \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in a recent Levi’s advertising campaign highlight Queen Bey’s penchant as a performer for upending traditional white, male tropes. “She challenges a pool shark to a shootout,” said Panek, describing one of the \u003ca href=\"https://www.youtube.com/watch?v=y2o2FuqMtxI\" target=\"_blank\" rel=\"noopener\">ads\u003c/a> set to Beyoncé’s 2024 song “Levii’s Jeans.” “Of course, she wins hands down, and demands that her rival give up his Levi’s.”\u003c/p>\n\u003cp>Mary Davis, a fashion historian and musicologist at Yale University, said musicians use denim in many different ways to construct identity and share messages.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1692x3006+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffe%2F04%2Fdb8047a84ed08e974bacaf770f3d%2Fbeyonce-4.jpg\" alt=\"Beyoncé's Levi's 501 Curve Jeans & Levi's Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi's, having performed the song 'Levii's Jeans' on her album Cowboy Carter.\">\u003cfigcaption>Beyoncé’s Levi’s 501 Curve Jeans & Levi’s Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi’s, having performed the song “Levii’s Jeans” on her album \u003cem>Cowboy Carter\u003c/em>. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a way in which you can see denim being almost a blank canvas for anything that anybody wants to make it,” Davis said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davis points to Bruce Springsteen’s 1984 album \u003cem>Born in the U.S.A.\u003c/em>, with its songs about the struggles of the working class — and its memorable album cover. It shows Springsteen from behind in worn blue Levi’s, a white T-shirt and a red baseball cap stuffed into a back pocket.\u003c/p>\n\u003cp>Davis said the photograph draws a potent line between denim’s 19th century workwear roots and the troubadour of late twentieth century labor. “He’s making a statement there,” Davis said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Amped: Music Icons in Levi’s® Denim’ is on view now (Tuesdays through Thursdays, 10 a.m. to 4 p.m.) through December 18, 2025 at the Levi’s museum located inside the company headquarters (1155 Battery St., San Francisco). Admission is free.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s Cowboy Carter Tour was announced, Bay Area fans were understandably disappointed — there were no local shows. It left them no choice but to catch one of the other stops, including the five shows slated to kick off the tour at SoFi Stadium near Los Angeles, more than 400 miles away.\u003c/p>\n\u003cp>And thus began my journey. As I boarded my flight at SFO on Monday afternoon, it was clear that this medium-sized aircraft had partially turned into a charter for the kickoff show of Beyoncé’s tour. Seated in front of me were two sisters, dressed in \u003cem>Cowboy Carter\u003c/em> merch, making small talk with another fan headed to the show and giving me a nod of approval as I walked past in my denim trench.\u003c/p>\n\u003cp>Across the aisle from me was Nikol Neiger, a San Francisco resident travelling to see Beyoncé in concert for the first time. Having recently had a daughter of her own, she told me her favorite song on \u003cem>Cowboy Carter\u003c/em> is “Protector,” a sentimental ode to motherhood. “It really hits,” she said, letting me know that she’d most likely tear up if Beyoncé ended up performing it. \u003c/p>\n\u003cfigure id=\"attachment_13975462\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13975462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at the first show of her Cowboy Carter Tour at SoFi Stadium in Inglewood, Calif., April 28, 2025. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made my way to the stadium at around 6 p.m. for the show and took my seat between a fan who’d traveled all the way from Brazil, and another who’d made the trip down from Napa.\u003c/p>\n\u003cp>Beyoncé hit the stage shortly after 8 p.m. with album opener “Ameriican Requiem,” which provided a thesis statement for the first act of the show, if not the entire concert. Minutes later, there was something slightly discomforting about hearing her sing a shortened version of the national anthem and “Freedom,” her 2016 hit that famously soundtracked Kamala Harris’ failed 2024 presidential campaign — like combining a holiday party with a funeral, though it was effective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For nearly three full hours, Beyoncé kept the audience guessing with unlikely mashups and beat drops that took a twist. “I play with y’all sometimes,” the singer even admitted after teasing the audience with a few notes of “Freakum Dress,” a nostalgic fan favorite.\u003c/p>\n\u003cfigure id=\"attachment_13975464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13975464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at the first show of her Cowboy Carter Tour at SoFi Stadium in Inglewood, Calif., April 28, 2025. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when the set eased into more introspective album cuts on \u003cem>Cowboy Carter\u003c/em>, the show’s pacing never slowed — from the set’s more acoustic moments to the encore of “16 Carriages” and “Amen.”\u003c/p>\n\u003cp>And when Beyoncé sang “Protector,” accompanied on stage by her two daughters — Blue Ivy, whose captivating presence fans have come to expect at her shows, and Rumi, who was perfectly adorable as her 7-year-old protege in the making — I can only imagine the waterworks from Neiger and others. \u003c/p>\n\u003cp>“It was so worth it,” said one fan while exiting the venue. “Her shows typically always are,” I replied.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyoncé performs again at SoFi Stadium in Inglewood on May 1, 4, 7 and 9. \u003ca href=\"https://www.beyonce.com/tour\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s Cowboy Carter Tour was announced, Bay Area fans were understandably disappointed — there were no local shows. It left them no choice but to catch one of the other stops, including the five shows slated to kick off the tour at SoFi Stadium near Los Angeles, more than 400 miles away.\u003c/p>\n\u003cp>And thus began my journey. As I boarded my flight at SFO on Monday afternoon, it was clear that this medium-sized aircraft had partially turned into a charter for the kickoff show of Beyoncé’s tour. Seated in front of me were two sisters, dressed in \u003cem>Cowboy Carter\u003c/em> merch, making small talk with another fan headed to the show and giving me a nod of approval as I walked past in my denim trench.\u003c/p>\n\u003cp>Across the aisle from me was Nikol Neiger, a San Francisco resident travelling to see Beyoncé in concert for the first time. Having recently had a daughter of her own, she told me her favorite song on \u003cem>Cowboy Carter\u003c/em> is “Protector,” a sentimental ode to motherhood. “It really hits,” she said, letting me know that she’d most likely tear up if Beyoncé ended up performing it. \u003c/p>\n\u003cfigure id=\"attachment_13975462\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13975462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.vertical.CowboyCarter-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at the first show of her Cowboy Carter Tour at SoFi Stadium in Inglewood, Calif., April 28, 2025. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made my way to the stadium at around 6 p.m. for the show and took my seat between a fan who’d traveled all the way from Brazil, and another who’d made the trip down from Napa.\u003c/p>\n\u003cp>Beyoncé hit the stage shortly after 8 p.m. with album opener “Ameriican Requiem,” which provided a thesis statement for the first act of the show, if not the entire concert. Minutes later, there was something slightly discomforting about hearing her sing a shortened version of the national anthem and “Freedom,” her 2016 hit that famously soundtracked Kamala Harris’ failed 2024 presidential campaign — like combining a holiday party with a funeral, though it was effective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For nearly three full hours, Beyoncé kept the audience guessing with unlikely mashups and beat drops that took a twist. “I play with y’all sometimes,” the singer even admitted after teasing the audience with a few notes of “Freakum Dress,” a nostalgic fan favorite.\u003c/p>\n\u003cfigure id=\"attachment_13975464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13975464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Beyonce.blue_.CowboyCarter-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at the first show of her Cowboy Carter Tour at SoFi Stadium in Inglewood, Calif., April 28, 2025. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when the set eased into more introspective album cuts on \u003cem>Cowboy Carter\u003c/em>, the show’s pacing never slowed — from the set’s more acoustic moments to the encore of “16 Carriages” and “Amen.”\u003c/p>\n\u003cp>And when Beyoncé sang “Protector,” accompanied on stage by her two daughters — Blue Ivy, whose captivating presence fans have come to expect at her shows, and Rumi, who was perfectly adorable as her 7-year-old protege in the making — I can only imagine the waterworks from Neiger and others. \u003c/p>\n\u003cp>“It was so worth it,” said one fan while exiting the venue. “Her shows typically always are,” I replied.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyoncé performs again at SoFi Stadium in Inglewood on May 1, 4, 7 and 9. \u003ca href=\"https://www.beyonce.com/tour\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "D’Wayne Wiggins, Legendary Oakland Musician and Mentor, Dies at 64",
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"content": "\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>[aside postID='arts_13937961']After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The ‘Beyoncé Bowl’ Halftime Show Was a Massive Hit for Netflix",
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"content": "\u003cp>Sports fans who tuned into Netflix’s landmark streaming Wednesday of two NFL games may have felt a bit of troubling déjà vu – at first.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13955021,arts_13954502,arts_13953532']\u003c/span>That’s because this crucial event – signaling the entry of the industry’s largest streaming service into the blockbuster business of professional football – kicked off with audio problems in the early moments of host Kay Adams’ opening presentation.\u003c/p>\n\u003cp>It was a worrying callback to problems Netflix had with its last big live event, the boxing match in November between \u003ca href=\"https://www.npr.org/2024/11/16/nx-s1-5193807/jake-paul-beats-58-year-old-mike-tyson-in-a-much-hyped-netflix-boxing-match\" rel=\"noopener\">\u003cu>YouTube star Jake Paul and former champ Mike Tyson\u003c/u>\u003c/a> when viewers struggled with blurry audio and got regularly kicked off the live stream.\u003c/p>\n\u003cp>Fortunately, Adams’ sound problems were quickly fixed, allowing Netflix to step up with a two-game programming event that felt like the streaming service’s version of the Super Bowl – complete with a lushly-produced halftime show for its second game featuring pop superstar Beyoncé that could stand up to any Big Game presentation.\u003c/p>\n\u003cp>In fact, the actual football games may have been the least impressive part of Netflix’s big day, as Super Bowl champions the Kansas City Chiefs ran over the Pittsburgh Steelers in the first game, 29-10 and the Baltimore Ravens dominated the Houston Texans on their home turf for the second contest, 31-2.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1920x1080+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F96%2Ff375a7bd4e56bb72523c2a86747d%2Fnfl-christmas-la-002.png\" alt=\"Netflix's broadcast on Wednesday got off to a rocky start with audio problems from host Kay Adams.\">\u003cfigcaption>Netflix’s broadcast on Wednesday got off to a rocky start with audio problems from host Kay Adams.\u003ccite> (Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stacking its teams of hosts and commentators with experienced broadcasters, Netflix delivered a mostly smooth visual presentation with lots of glitzy graphics and all the information fans needed to follow the game. The connection issues that plagued the Tyson/Paul fight seemed largely absent, at least for this viewer, particularly while watching the games in slightly delayed playback.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to \u003ca href=\"https://x.com/NFLMedia/status/1872025569266643093?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1872025569266643093%7Ctwgr%5E86c6c7e99c3f4498aa15697a4566265861e69577%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.profootballnetwork.com%2Fnetflix-nfl-viewership-christmas-games%2F\" target=\"_blank\" rel=\"noopener\">\u003cu>Netflix\u003c/u>\u003c/a>, more than 200 countries tuned in at some point during the Chiefs vs. Steelers contest, making it the second most popular live title on the streaming service.\u003c/p>\n\u003cp>So, it makes sense the streamer would take advantage of the occasion to shoehorn in lots of references to other Netflix products, including a \u003ca href=\"https://www.instagram.com/liv4dakota/reel/DEBFMa1hwud/\" target=\"_blank\" rel=\"noopener\">\u003cu>pregame interview with WWE wrestler Liv Morgan\u003c/u>\u003c/a> to prompt the debut of WWE Raw live events next month and realistic-looking football-shaped cakes tying into the streamer’s game show \u003cem>Is It Cake?\u003c/em>\u003c/p>\n\u003cp>There were also loads of commercials, which seemed to play even for subscribers with ad-free plans, though if you watched the games via replay, you could skip past them.\u003c/p>\n\u003cp>But the full games expired from Netflix three hours after the event; two programs offering highlights from each game’s plays are available to watch on demand, and the streamer says Beyoncé’s halftime show will also be offered as a standalone program to rewatch.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13934154,arts_13940030']\u003c/span>Queen Bey, a Houston native, certainly brought the fire to her hometown for what the streamer dubbed the “Beyoncé Bowl” halftime show. Performing songs from her album \u003cem>Cowboy Carter\u003c/em> for the first time – including her reboots of “Jolene” and “Blackbird” – she was a vision in white and sequins backed by a cavalcade of dancers decked out in white cowboy hats and ace collaborators like Post Malone and Shaboozey. Her daughter, Blue Ivy, even made an appearance.\u003c/p>\n\u003cp>Beyoncé’s epic live performance lasted more than 13 minutes – handily overshadowing Mariah Carey’s pre-taped appearances before each game – also proving that Netflix could muster the production value and imagery to match any Super Bowl-level performer.\u003c/p>\n\u003cp>Which was, ultimately, the most important point of the entire day – proving that the streaming service is ready to compete with the big dogs of broadcasting by offering glitch-free NFL games live to a subscriber base of more than 282 million accounts.\u003c/p>\n\u003cp>Netflix isn’t the only streamer offering live NFL games. Amazon’s Prime Video has Thursday Night Football and Peacock also offers live coverage of some NFL games. But Netflix, as the largest and most profitable streaming service, has a symbolic and substantial impact when it comes to a certain kind of programming.\u003c/p>\n\u003cp>With its plans to stream WWE Raw live events \u003ca href=\"https://www.netflix.com/tudum/articles/how-to-watch-wwe-on-netflix\" rel=\"noopener\">\u003cu>starting next month\u003c/u>\u003c/a> and \u003ca href=\"https://variety.com/2024/tv/news/netflix-fifa-womens-world-cup-streaming-1236256174/\" rel=\"noopener\">\u003cu>a new deal\u003c/u>\u003c/a> to present the FIFA Women’s World Cup, Netflix is turning toward one area of television streaming services haven’t yet dominated: live sports.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What that ultimately means for the future of television – and the future of sports media – we may just be starting to learn.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That’s because this crucial event – signaling the entry of the industry’s largest streaming service into the blockbuster business of professional football – kicked off with audio problems in the early moments of host Kay Adams’ opening presentation.\u003c/p>\n\u003cp>It was a worrying callback to problems Netflix had with its last big live event, the boxing match in November between \u003ca href=\"https://www.npr.org/2024/11/16/nx-s1-5193807/jake-paul-beats-58-year-old-mike-tyson-in-a-much-hyped-netflix-boxing-match\" rel=\"noopener\">\u003cu>YouTube star Jake Paul and former champ Mike Tyson\u003c/u>\u003c/a> when viewers struggled with blurry audio and got regularly kicked off the live stream.\u003c/p>\n\u003cp>Fortunately, Adams’ sound problems were quickly fixed, allowing Netflix to step up with a two-game programming event that felt like the streaming service’s version of the Super Bowl – complete with a lushly-produced halftime show for its second game featuring pop superstar Beyoncé that could stand up to any Big Game presentation.\u003c/p>\n\u003cp>In fact, the actual football games may have been the least impressive part of Netflix’s big day, as Super Bowl champions the Kansas City Chiefs ran over the Pittsburgh Steelers in the first game, 29-10 and the Baltimore Ravens dominated the Houston Texans on their home turf for the second contest, 31-2.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1920x1080+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F96%2Ff375a7bd4e56bb72523c2a86747d%2Fnfl-christmas-la-002.png\" alt=\"Netflix's broadcast on Wednesday got off to a rocky start with audio problems from host Kay Adams.\">\u003cfigcaption>Netflix’s broadcast on Wednesday got off to a rocky start with audio problems from host Kay Adams.\u003ccite> (Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stacking its teams of hosts and commentators with experienced broadcasters, Netflix delivered a mostly smooth visual presentation with lots of glitzy graphics and all the information fans needed to follow the game. The connection issues that plagued the Tyson/Paul fight seemed largely absent, at least for this viewer, particularly while watching the games in slightly delayed playback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://x.com/NFLMedia/status/1872025569266643093?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1872025569266643093%7Ctwgr%5E86c6c7e99c3f4498aa15697a4566265861e69577%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.profootballnetwork.com%2Fnetflix-nfl-viewership-christmas-games%2F\" target=\"_blank\" rel=\"noopener\">\u003cu>Netflix\u003c/u>\u003c/a>, more than 200 countries tuned in at some point during the Chiefs vs. Steelers contest, making it the second most popular live title on the streaming service.\u003c/p>\n\u003cp>So, it makes sense the streamer would take advantage of the occasion to shoehorn in lots of references to other Netflix products, including a \u003ca href=\"https://www.instagram.com/liv4dakota/reel/DEBFMa1hwud/\" target=\"_blank\" rel=\"noopener\">\u003cu>pregame interview with WWE wrestler Liv Morgan\u003c/u>\u003c/a> to prompt the debut of WWE Raw live events next month and realistic-looking football-shaped cakes tying into the streamer’s game show \u003cem>Is It Cake?\u003c/em>\u003c/p>\n\u003cp>There were also loads of commercials, which seemed to play even for subscribers with ad-free plans, though if you watched the games via replay, you could skip past them.\u003c/p>\n\u003cp>But the full games expired from Netflix three hours after the event; two programs offering highlights from each game’s plays are available to watch on demand, and the streamer says Beyoncé’s halftime show will also be offered as a standalone program to rewatch.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> will perform at a halftime show during one of the NFL’s Christmas Day matchups on Netflix.\u003c/p>\n\u003cp>She will take the stage during a game between her hometown team, the Houston Texans, and the Baltimore Ravens, to perform songs from her latest album, \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13955633']The project was recently nominated for 11 \u003ca href=\"https://www.kqed.org/arts/tag/grammys\">Grammys\u003c/a>, breaking the record for the most nominations for an album by a female artist, and placed Beyoncé as the artist with the most nominations in history, with 99.\u003c/p>\n\u003cp>Artists featured on the album could make an appearance, some of whom include Miley Cyrus, Post Malone and Shaboozey, \u003ca href=\"https://about.netflix.com/en/news/beyonce-to-perform-at-halftime-of-ravens-texans-during-nfl-christmas-gameday\">Netflix said Sunday\u003c/a>.\u003c/p>\n\u003cp>Beyoncé previously performed at two Super Bowl halftime shows — in 2013 with Michelle Williams and Kelly Rowland, her former Destiny’s Child bandmates, and in 2016 with Coldplay and Bruno Mars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The game will stream on Netflix at 4:30 p.m. ET and be shown on the participating teams’ local broadcast channels. Earlier in the day, Netflix is also streaming a game between the Kansas City Chiefs and the Pittsburgh Steelers. The company says it has also secured holiday games for 2025 and 2026.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was recently nominated for 11 \u003ca href=\"https://www.kqed.org/arts/tag/grammys\">Grammys\u003c/a>, breaking the record for the most nominations for an album by a female artist, and placed Beyoncé as the artist with the most nominations in history, with 99.\u003c/p>\n\u003cp>Artists featured on the album could make an appearance, some of whom include Miley Cyrus, Post Malone and Shaboozey, \u003ca href=\"https://about.netflix.com/en/news/beyonce-to-perform-at-halftime-of-ravens-texans-during-nfl-christmas-gameday\">Netflix said Sunday\u003c/a>.\u003c/p>\n\u003cp>Beyoncé previously performed at two Super Bowl halftime shows — in 2013 with Michelle Williams and Kelly Rowland, her former Destiny’s Child bandmates, and in 2016 with Coldplay and Bruno Mars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In Vice President Kamala Harris’ \u003ca href=\"https://www.youtube.com/watch?v=sHky_Xopyrw\">first 2024 presidential campaign video\u003c/a>, a familiar rhythm rings out. The clip, which touches on issues of gun violence, health care and abortion, is soundtracked by Beyoncé’s “Freedom,” a cut from her 2016 landmark album, \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>“We choose freedom,” Harris says in the clip, as Beyoncé’s powerful chorus kicks in: “Freedom! Freedom! I can’t move / Freedom, cut me loose! Yeah.”\u003c/p>\n\u003cp>[aside postid='arts_13953532']It’s become a campaign song for Harris. She used “Freedom” during her first official public appearance as a presidential candidate at her campaign headquarters in Delaware on Monday, and again on Tuesday at the beginning and end of her rally in Milwaukee.\u003c/p>\n\u003cp>As a whole body of work, \u003cem>Lemonade\u003c/em> has been celebrated as an instant-classic, a game-changing collection of songs and visuals that function as an examination of personal plight and societal injustice, where revenge songs about infidelity sit next to displays of support for \u003ca href=\"https://www.kqed.org/arts/13885483/march-on-washington-2020-draws-thousands-of-peaceful-protesters\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cp>Omise’eke Tinsley, academic and author of \u003cem>Beyoncé in Formation: Remixing Black Feminism\u003c/em>, says Beyoncé has performed “Freedom,” in particular, in ways that have made it clear it is a political song. “She performed it at Coachella; it segued into ‘Lift Every Voice,’ the Black national anthem,” she says. It was used by activists ahead of the 2016 presidential election, and “in 2020, it was taken up by activists again. In the wake of the George Floyd killing … It’s a song of hope. It’s a song of uplift.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7FWF9375hUA\u003c/p>\n\u003ch2>What is Beyoncé’s “Freedom” about?\u003c/h2>\n\u003cp>Kinitra D. Brooks, an academic and author of \u003cem>The Lemonade Reader\u003c/em>, says much of Beyoncé’s album “focuses on the infidelity of the partner, but it’s really about her learning to love herself and coming to her own and then being able to deal with other ramifications of coming into her own.”\u003c/p>\n\u003cp>“‘Freedom’ is so important because it shows that freedom isn’t free. The freedom to be yourself, the political freedom… it’s the idea that you must fight for freedom, and that it is winnable,” she adds, referencing some of the lyrics in the chorus: “I break chains all by myself / Won’t let my freedom rot in hell / Hey! I’ma keep running / ’Cause a winner don’t quit on themselves.”\u003c/p>\n\u003ch2>The musical legacy of “Freedom”\u003c/h2>\n\u003cp>Arriving in the back-half of \u003cem>Lemonade\u003c/em>, “Freedom” samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively.\u003c/p>\n\u003cp>Brooks calls it a kind of “inheritance.” “It’s necessary that Beyoncé is using, you know, the cadence and the rhythm and the foundation of spirituals and things like that in a song called ‘Freedom,’” she says, because it is part of a greater tradition of Black Americans imagining new ideas and concepts around freedom.\u003c/p>\n\u003cp>[aside postid='arts_13955633']“Freedom” also features Pulitzer Prize winner Kendrick Lamar, the L.A. rapper at the top of his game having recently released the No. 1 hit song “Not Like Us” in the midst of \u003ca href=\"https://www.kqed.org/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that\">his beef with Drake\u003c/a>. Brooks says, “Lamar has that momentum, the momentum of winners.”\u003c/p>\n\u003cp>“These are winners that Kamala is evoking,” Tinsley agrees. “How does Kamala use music and prominent musical voices to inspire people to take a Black woman seriously? I think Beyoncé and Kendrick Lamar are both voices that make that message clear.”\u003c/p>\n\u003ch2>Does “Freedom” differ from other campaign songs?\u003c/h2>\n\u003cp>Eric T. Kasper, academic and co-author of \u003cem>Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns\u003c/em>, says there is a long history of presidential campaign songs having a title or hook about freedom or liberty: In 1800, John Adams used the song, “Adams and Liberty” and Thomas Jefferson used “The Son of Liberty.” In 1860, Abraham Lincoln used “Lincoln and Liberty.” As recent as 2012, Mitt Romney used Kid Rock’s “Born Free.”\u003c/p>\n\u003cp>“The use of a song with that type of title, or a hook with lyrics referring to liberty or freedom, often tries to portray the candidate as supporting voters’ personal autonomy and security from government overreach,” he says.\u003c/p>\n\u003ch2>Is it an effective campaign song?\u003c/h2>\n\u003cp>“Democrats across the board have been saying freedom is at stake,” says Tinsley, “And this literally makes that into a refrain. (She’s) associating her campaign with a literal call for freedom and a reminder that that’s what’s at stake.”\u003c/p>\n\u003cp>Kasper says there is a benefit to campaign songs where “the musical artist is popular, as the candidate may use the song to connect their campaign to a popular celebrity,” and “if the artist supports the candidate, as that can turn into a type of celebrity endorsement.”\u003c/p>\n\u003cfigure id=\"attachment_13961574\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-2048x1426.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1920x1337.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs the National Anthem as President Barack Obama looks on during the 2013 inauguration. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What is Beyoncé’s history with Democrats?\u003c/h2>\n\u003cp>In 2013, Beyoncé sang the national anthem at the inauguration of President Barack Obama. Three years later, she and her husband Jay-Z performed at a pre-election concert for Hillary Clinton in Cleveland.\u003c/p>\n\u003cp>[aside postid='arts_13955679']“Look how far we’ve come from having no voice to being on the brink of history — again,” Beyoncé said at the time. “But we have to vote.”\u003c/p>\n\u003cp>“If we remember at the end of Hillary Clinton’s (campaign), they were still trying to get certain populations out. They brought out Beyoncé at the last minute,” says Brooks. Harris differs, because she’s utilizing Beyoncé early on, appealing to “the many populations that are Beyoncé fans, who are people the Harris campaign needs: people of color, queer folks, young people, etc.”\u003c/p>\n\u003cp>Last year, Harris and her husband Doug Emhoff attended Beyoncé’s Renaissance World Tour in Maryland after being gifted tickets from Queen B herself. “Thanks for a fun date night, @Beyonce,” \u003ca href=\"https://www.instagram.com/kamalaharris/p/CvnFq-VuQmB/\">Harris wrote on Instagram\u003c/a>.\u003c/p>\n\u003ch2>How have other pop stars engaged with Harris?\u003c/h2>\n\u003cp>Since President Joe Biden dropped out of the 2024 race for the White House on Sunday, quickly endorsing Vice President Kamala Harris to take on Trump and encouraging his party to unite behind her, the world of pop music has similarly embraced the VP.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Support poured in from Janelle Monáe, John Legend, Katy Perry and Charli XCX, whose album \u003cem>brat\u003c/em> inspired the Internet trend of “brat summer” and many Harris memes. (As a result, Harris’ campaign quickly set its X banner photo to the striking Shrek-green color of Charli’s \u003cem>brat\u003c/em> album cover.) On TikTok, users have remixed Harris’ speeches into songs by Taylor Swift, Chappell Roan, Carly Rae Jepsen and more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s become a campaign song for Harris. She used “Freedom” during her first official public appearance as a presidential candidate at her campaign headquarters in Delaware on Monday, and again on Tuesday at the beginning and end of her rally in Milwaukee.\u003c/p>\n\u003cp>As a whole body of work, \u003cem>Lemonade\u003c/em> has been celebrated as an instant-classic, a game-changing collection of songs and visuals that function as an examination of personal plight and societal injustice, where revenge songs about infidelity sit next to displays of support for \u003ca href=\"https://www.kqed.org/arts/13885483/march-on-washington-2020-draws-thousands-of-peaceful-protesters\">Black Lives Matter\u003c/a>.\u003c/p>\n\u003cp>Omise’eke Tinsley, academic and author of \u003cem>Beyoncé in Formation: Remixing Black Feminism\u003c/em>, says Beyoncé has performed “Freedom,” in particular, in ways that have made it clear it is a political song. “She performed it at Coachella; it segued into ‘Lift Every Voice,’ the Black national anthem,” she says. It was used by activists ahead of the 2016 presidential election, and “in 2020, it was taken up by activists again. In the wake of the George Floyd killing … It’s a song of hope. It’s a song of uplift.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7FWF9375hUA'\n title='//www.youtube.com/embed/7FWF9375hUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>What is Beyoncé’s “Freedom” about?\u003c/h2>\n\u003cp>Kinitra D. Brooks, an academic and author of \u003cem>The Lemonade Reader\u003c/em>, says much of Beyoncé’s album “focuses on the infidelity of the partner, but it’s really about her learning to love herself and coming to her own and then being able to deal with other ramifications of coming into her own.”\u003c/p>\n\u003cp>“‘Freedom’ is so important because it shows that freedom isn’t free. The freedom to be yourself, the political freedom… it’s the idea that you must fight for freedom, and that it is winnable,” she adds, referencing some of the lyrics in the chorus: “I break chains all by myself / Won’t let my freedom rot in hell / Hey! I’ma keep running / ’Cause a winner don’t quit on themselves.”\u003c/p>\n\u003ch2>The musical legacy of “Freedom”\u003c/h2>\n\u003cp>Arriving in the back-half of \u003cem>Lemonade\u003c/em>, “Freedom” samples two John and Alan Lomax field recordings, which document Jim Crow-era folk spirituals of Southern Black churches and the work songs of Black prisoners from 1959 and 1948, respectively.\u003c/p>\n\u003cp>Brooks calls it a kind of “inheritance.” “It’s necessary that Beyoncé is using, you know, the cadence and the rhythm and the foundation of spirituals and things like that in a song called ‘Freedom,’” she says, because it is part of a greater tradition of Black Americans imagining new ideas and concepts around freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Freedom” also features Pulitzer Prize winner Kendrick Lamar, the L.A. rapper at the top of his game having recently released the No. 1 hit song “Not Like Us” in the midst of \u003ca href=\"https://www.kqed.org/arts/13956954/kendrick-lamar-drake-beef-euphoria-push-ups-like-that\">his beef with Drake\u003c/a>. Brooks says, “Lamar has that momentum, the momentum of winners.”\u003c/p>\n\u003cp>“These are winners that Kamala is evoking,” Tinsley agrees. “How does Kamala use music and prominent musical voices to inspire people to take a Black woman seriously? I think Beyoncé and Kendrick Lamar are both voices that make that message clear.”\u003c/p>\n\u003ch2>Does “Freedom” differ from other campaign songs?\u003c/h2>\n\u003cp>Eric T. Kasper, academic and co-author of \u003cem>Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns\u003c/em>, says there is a long history of presidential campaign songs having a title or hook about freedom or liberty: In 1800, John Adams used the song, “Adams and Liberty” and Thomas Jefferson used “The Son of Liberty.” In 1860, Abraham Lincoln used “Lincoln and Liberty.” As recent as 2012, Mitt Romney used Kid Rock’s “Born Free.”\u003c/p>\n\u003cp>“The use of a song with that type of title, or a hook with lyrics referring to liberty or freedom, often tries to portray the candidate as supporting voters’ personal autonomy and security from government overreach,” he says.\u003c/p>\n\u003ch2>Is it an effective campaign song?\u003c/h2>\n\u003cp>“Democrats across the board have been saying freedom is at stake,” says Tinsley, “And this literally makes that into a refrain. (She’s) associating her campaign with a literal call for freedom and a reminder that that’s what’s at stake.”\u003c/p>\n\u003cp>Kasper says there is a benefit to campaign songs where “the musical artist is popular, as the candidate may use the song to connect their campaign to a popular celebrity,” and “if the artist supports the candidate, as that can turn into a type of celebrity endorsement.”\u003c/p>\n\u003cfigure id=\"attachment_13961574\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961574\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-2048x1426.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-159835044-1920x1337.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs the National Anthem as President Barack Obama looks on during the 2013 inauguration. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What is Beyoncé’s history with Democrats?\u003c/h2>\n\u003cp>In 2013, Beyoncé sang the national anthem at the inauguration of President Barack Obama. Three years later, she and her husband Jay-Z performed at a pre-election concert for Hillary Clinton in Cleveland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Look how far we’ve come from having no voice to being on the brink of history — again,” Beyoncé said at the time. “But we have to vote.”\u003c/p>\n\u003cp>“If we remember at the end of Hillary Clinton’s (campaign), they were still trying to get certain populations out. They brought out Beyoncé at the last minute,” says Brooks. Harris differs, because she’s utilizing Beyoncé early on, appealing to “the many populations that are Beyoncé fans, who are people the Harris campaign needs: people of color, queer folks, young people, etc.”\u003c/p>\n\u003cp>Last year, Harris and her husband Doug Emhoff attended Beyoncé’s Renaissance World Tour in Maryland after being gifted tickets from Queen B herself. “Thanks for a fun date night, @Beyonce,” \u003ca href=\"https://www.instagram.com/kamalaharris/p/CvnFq-VuQmB/\">Harris wrote on Instagram\u003c/a>.\u003c/p>\n\u003ch2>How have other pop stars engaged with Harris?\u003c/h2>\n\u003cp>Since President Joe Biden dropped out of the 2024 race for the White House on Sunday, quickly endorsing Vice President Kamala Harris to take on Trump and encouraging his party to unite behind her, the world of pop music has similarly embraced the VP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Support poured in from Janelle Monáe, John Legend, Katy Perry and Charli XCX, whose album \u003cem>brat\u003c/em> inspired the Internet trend of “brat summer” and many Harris memes. (As a result, Harris’ campaign quickly set its X banner photo to the striking Shrek-green color of Charli’s \u003cem>brat\u003c/em> album cover.) On TikTok, users have remixed Harris’ speeches into songs by Taylor Swift, Chappell Roan, Carly Rae Jepsen and more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyonce-election-year-politics-drag-oasis-nightclub-san-francisco-cowboy-carter",
"title": "Beyoncé Fans Reflect on Election Year Concerns at San Francisco Drag Show",
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"headTitle": "Beyoncé Fans Reflect on Election Year Concerns at San Francisco Drag Show | KQED",
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"content": "\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"A woman in a white sequined dress and cowboy hat kneels on one leg on a catwalk, surrounded by the audience and lit in red\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]E[/dropcap]arlier this month, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s \u003cem>Cowboy Carter\u003c/em> galloped into the national psyche in all of its flag-waving, countrified glory.\u003c/p>\n\u003cp>Considering Beyoncé’s status as an artist \u003ca href=\"https://www.kqed.org/pop/20366/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now\">unafraid to invoke political imagery in both her music and her visuals\u003c/a> — not to mention the way this album has turned into a battleground over who “\u003ca href=\"https://www.kqed.org/forum/2010101905263/from-beyonce-to-lil-hardin-my-black-country-celebrates-the-undersung-black-history-and-future-of-country-music\">owns country\u003c/a>”— it’s unsurprising that many of her fans consider themselves politically conscious, too.\u003c/p>\n\u003cp>We at KQED set out to ask Beyoncé fans at San Francisco’s Oasis nightclub, directly before a Beyoncé-themed drag show, about the state of America and the issues with which they’re most concerned in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13955649\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-014-KQED.jpg\" alt=\"A trio of tattooed and flamboyant people, including two in cowboy hats, smile and line up before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Lance Derick, Joshua Carrasco and James Aceves. Carrasco, who is a pediatric resident at UCSF, says access to healthcare and health insurance is a huge factor in his voting decisions. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Carrasco came to the Beyoncé party with two friends, having arrived in San Francisco from Texas almost a year ago. As a pediatric resident at UCSF, Carrasco says he’s concerned about the links between poor health, underfunded education and a lack of affordable housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When it comes to queer communities, housing is such an important social determinate of health that I think is undervalued within the San Francisco area,” Carrasco said. “A lot of the Props that were voted on [in the last election] went in a direction that I was not anticipating. I think San Francisco flaunts itself as progressive, but I think in action, it’s less progressive than I had anticipated.”\u003c/p>\n\u003cfigure id=\"attachment_13955643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-001-KQED.jpg\" alt=\"A smiling woman wearing a wide brimmed black hat and leather jacket stands with a shorter woman wearing her hair in braids and a short skirt. They are standing before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annika Gabriel (L) and Gabby Huckabee (R). Both expressed concern about the age of the presidential candidates, as well as concern for their friends of color. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked how she’s feeling about the 2024 election, Annika Gabriel said simply: “I’m real worried about my trans friends.”\u003c/p>\n\u003cp>At Gabriel’s side was Gabby Huckabee, who said she is “upset for my Muslim friends [and] for my friends of color.”\u003c/p>\n\u003cp>[aside postID='arts_13955021']Huckabee continued, “It’s very upsetting to me that out of everyone they could have possibly chosen for both parties, [Biden and Trump] are the two they still have come up with. I’m not optimistic for the future. I’m still going to vote for Joe Biden. Because I’m very clearly opposed to \u003ca href=\"https://www.nytimes.com/2016/10/08/us/donald-trump-tape-transcript.html\">Donald Trump grabbing people by the pussy\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13955645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-003-KQED-e1712693509298.jpg\" alt=\"A Black man smiles broadly in front of a neon-lit O sign at night.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Aaron McCall has the environment at the forefront of his mind during this election year. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite not feeling enthusiastic about either presidential candidate, Aaron McCall was another attendee determined to make a difference in whichever way he can.\u003c/p>\n\u003cp>“When we are choosing people to vote for, it is not a moral statement and it’s not a statement of who we like,” the climate charity worker emphasized. “It is a statement of who we’re going to work with and who’s going to work with us.”\u003c/p>\n\u003cp>“Republicans have actively said they are going to target and attack queer [folks] and people of color,” McCall continued, “and they’re going to destroy the environment in the process.”\u003c/p>\n\u003cfigure id=\"attachment_13955647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-008-KQED-e1712695709640.jpg\" alt=\"A slender white man in a Beyonce t-shirt, an Arabic man wearing a blue shirt and an Asian woman in a black leather jacket stand with arms around each other outside a nightclub.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sean Dante Remigio, Mahmoud Dabbah and Mara Lee. Dabbah isn’t happy with President Biden’s support of Israel and feels there isn’t much difference between Biden and Trump. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahmoud Dabbah, a Palestinian who has lived in America for three years, believes Biden’s ability to get reelected will be greatly impacted by the president’s support of \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Israel’s military actions in Gaza.\u003c/a>\u003c/p>\n\u003cp>“You can see that clearly. I think the whole world is pissed off,” Dabbah said. “This war is horrible and the U.S. is a big part of it. I hope it stops soon.”\u003c/p>\n\u003cp>[aside postID='arts_13940030']Asked if he worries about the consequences of another Trump presidency, Dabbah stated: “After what I saw from Biden, I don’t care anymore. It’s all the same for me as an immigrant.”\u003c/p>\n\u003cp>Dabbah’s friend Sean Dante Remigio agreed. “It feels very much a losing game either way,” he said. “I mean, it’s not even choosing between a lesser of two evils. There is no choice. That is the conflict.”\u003c/p>\n\u003cfigure id=\"attachment_13955702\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png\" alt=\"Two young people of color stand side by side inside a nightclub with thoughtful expressions on their faces.\" width=\"1402\" height=\"936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-768x513.png 768w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">(L) Rogue and (R) Stephane are both concerned about houselessness and access to healthcare in San Francisco. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remigio’s thoughts were echoed by Rogue and Stephane. (Both declined to give last names.) Though the friends remain concerned with housing and healthcare in San Francisco, they don’t see an upcoming face-off between Trump and Biden offering real solutions to the nation’s problems.\u003c/p>\n\u003cp>“I feel like the options are not great,” Stephane, an international student, said. “Even if I was allowed to vote, I would need better options. I don’t really care about either of the candidates.”\u003c/p>\n\u003cp>“Yeah,” Rogue laughed, “it’s like: Poo-Poo or Pee-Pee!”\u003c/p>\n\u003cfigure id=\"attachment_13955648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-009-KQED.jpg\" alt=\"Two white women, one with a ponytail, one with cropped purple hair, stand close together, smiling warmly at each other. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Sunny and Reece Johnson are politically disillusioned — one more so than the other. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also disillusioned with the election are Sunny and Reece Johnson, who’ve been happily married for 11 years.\u003c/p>\n\u003cp>“I will tell you that I have stopped thinking about [the election] because it’s distressing,” Reece said. “I do feel very unmotivated to vote, because I’m so burned out on the drama.”\u003c/p>\n\u003cp>“I would never \u003cem>not\u003c/em> vote, though,” Sunny interjected. “Never.”\u003c/p>\n\u003cp>Reece shrugged. “I would like to say that I would never not vote, but I’m so disenchanted.”\u003c/p>\n\u003cfigure id=\"attachment_13955651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-024-KQED-e1712707940654.jpg\" alt=\"A drag queen strikes a pose in black lingerie and red dressing gown, next to a wooden fence decorated with lights.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Xochitl the Queen poses on the roof deck of Oasis shortly before performing on April 5, 2024. Xochitl works in deportation defense at USF Law and uses her drag to make political statements. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One fan who wishes she could vote is drag queen Xochitl. Shortly before her performance as auburn-haired temptress Jolene, Xochitl said she is “low-key scared” about the upcoming election.\u003c/p>\n\u003cp>“My future as a performer, as an artist, as an immigrant and as a member of this society is at risk, depending on who wins,” she said. “They say we have a choice, but it’s an illusion of a choice.”\u003c/p>\n\u003cp>As a DACA recipient, Xochitl is not eligible to vote, but strives to make a difference through her job at USF Law. She also utilizes performance to express herself politically.\u003c/p>\n\u003cp>“I make my voice heard by doing art, doing drag,” Xochitl explained. “My drag is inherently political. I’ve done numbers on stage where I burn the American flag as protest, as part of my work in deportation defense. I express my fear about drag bans through my art.”\u003c/p>\n\u003cfigure id=\"attachment_13955646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-006-KQED-e1712693763217.jpg\" alt=\"A person with glasses and short dark haircut, stands hands in pockets in front of a pink and red mural. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Dani Arevalos says their biggest concern as a member of the LGBTQ+ community is being respected and acknowledged as a person. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many people we spoke with at Oasis, LGBTQ issues are front and center for Dani Arevalos, who feels dehumanized by recent attacks on gender nonconforming people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Looking to the future, my biggest concern is being respected as a human being,” Arevalos said. “I come from the Latin community, and also being LGBTQ … Honestly two very different communities [with] the same issue of being oppressed. I think going forward, being respected and being acknowledged [will help us] to move forward as a nation together.”\u003c/p>\n\n",
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"excerpt": "At Oasis nightclub, fans expressed concerns about housing, climate change, Gaza, LGBTQ rights and more.",
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"title": "Beyoncé Fans Reflect on Election Year Concerns at San Francisco Drag Show | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"A woman in a white sequined dress and cowboy hat kneels on one leg on a catwalk, surrounded by the audience and lit in red\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story is part of the series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">E\u003c/span>\u003c/p>\u003cp>arlier this month, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>’s \u003cem>Cowboy Carter\u003c/em> galloped into the national psyche in all of its flag-waving, countrified glory.\u003c/p>\n\u003cp>Considering Beyoncé’s status as an artist \u003ca href=\"https://www.kqed.org/pop/20366/six-beyonce-pieces-by-women-of-color-that-you-should-read-right-now\">unafraid to invoke political imagery in both her music and her visuals\u003c/a> — not to mention the way this album has turned into a battleground over who “\u003ca href=\"https://www.kqed.org/forum/2010101905263/from-beyonce-to-lil-hardin-my-black-country-celebrates-the-undersung-black-history-and-future-of-country-music\">owns country\u003c/a>”— it’s unsurprising that many of her fans consider themselves politically conscious, too.\u003c/p>\n\u003cp>We at KQED set out to ask Beyoncé fans at San Francisco’s Oasis nightclub, directly before a Beyoncé-themed drag show, about the state of America and the issues with which they’re most concerned in this election year.\u003c/p>\n\u003cfigure id=\"attachment_13955649\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-014-KQED.jpg\" alt=\"A trio of tattooed and flamboyant people, including two in cowboy hats, smile and line up before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Lance Derick, Joshua Carrasco and James Aceves. Carrasco, who is a pediatric resident at UCSF, says access to healthcare and health insurance is a huge factor in his voting decisions. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joshua Carrasco came to the Beyoncé party with two friends, having arrived in San Francisco from Texas almost a year ago. As a pediatric resident at UCSF, Carrasco says he’s concerned about the links between poor health, underfunded education and a lack of affordable housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When it comes to queer communities, housing is such an important social determinate of health that I think is undervalued within the San Francisco area,” Carrasco said. “A lot of the Props that were voted on [in the last election] went in a direction that I was not anticipating. I think San Francisco flaunts itself as progressive, but I think in action, it’s less progressive than I had anticipated.”\u003c/p>\n\u003cfigure id=\"attachment_13955643\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-001-KQED.jpg\" alt=\"A smiling woman wearing a wide brimmed black hat and leather jacket stands with a shorter woman wearing her hair in braids and a short skirt. They are standing before a pink and red mural.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-001-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annika Gabriel (L) and Gabby Huckabee (R). Both expressed concern about the age of the presidential candidates, as well as concern for their friends of color. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked how she’s feeling about the 2024 election, Annika Gabriel said simply: “I’m real worried about my trans friends.”\u003c/p>\n\u003cp>At Gabriel’s side was Gabby Huckabee, who said she is “upset for my Muslim friends [and] for my friends of color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Huckabee continued, “It’s very upsetting to me that out of everyone they could have possibly chosen for both parties, [Biden and Trump] are the two they still have come up with. I’m not optimistic for the future. I’m still going to vote for Joe Biden. Because I’m very clearly opposed to \u003ca href=\"https://www.nytimes.com/2016/10/08/us/donald-trump-tape-transcript.html\">Donald Trump grabbing people by the pussy\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13955645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-003-KQED-e1712693509298.jpg\" alt=\"A Black man smiles broadly in front of a neon-lit O sign at night.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Aaron McCall has the environment at the forefront of his mind during this election year. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite not feeling enthusiastic about either presidential candidate, Aaron McCall was another attendee determined to make a difference in whichever way he can.\u003c/p>\n\u003cp>“When we are choosing people to vote for, it is not a moral statement and it’s not a statement of who we like,” the climate charity worker emphasized. “It is a statement of who we’re going to work with and who’s going to work with us.”\u003c/p>\n\u003cp>“Republicans have actively said they are going to target and attack queer [folks] and people of color,” McCall continued, “and they’re going to destroy the environment in the process.”\u003c/p>\n\u003cfigure id=\"attachment_13955647\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-008-KQED-e1712695709640.jpg\" alt=\"A slender white man in a Beyonce t-shirt, an Arabic man wearing a blue shirt and an Asian woman in a black leather jacket stand with arms around each other outside a nightclub.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Sean Dante Remigio, Mahmoud Dabbah and Mara Lee. Dabbah isn’t happy with President Biden’s support of Israel and feels there isn’t much difference between Biden and Trump. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahmoud Dabbah, a Palestinian who has lived in America for three years, believes Biden’s ability to get reelected will be greatly impacted by the president’s support of \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Israel’s military actions in Gaza.\u003c/a>\u003c/p>\n\u003cp>“You can see that clearly. I think the whole world is pissed off,” Dabbah said. “This war is horrible and the U.S. is a big part of it. I hope it stops soon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Asked if he worries about the consequences of another Trump presidency, Dabbah stated: “After what I saw from Biden, I don’t care anymore. It’s all the same for me as an immigrant.”\u003c/p>\n\u003cp>Dabbah’s friend Sean Dante Remigio agreed. “It feels very much a losing game either way,” he said. “I mean, it’s not even choosing between a lesser of two evils. There is no choice. That is the conflict.”\u003c/p>\n\u003cfigure id=\"attachment_13955702\" class=\"wp-caption aligncenter\" style=\"max-width: 1402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955702\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png\" alt=\"Two young people of color stand side by side inside a nightclub with thoughtful expressions on their faces.\" width=\"1402\" height=\"936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM.png 1402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-09-at-4.57.48-PM-768x513.png 768w\" sizes=\"(max-width: 1402px) 100vw, 1402px\">\u003cfigcaption class=\"wp-caption-text\">(L) Rogue and (R) Stephane are both concerned about houselessness and access to healthcare in San Francisco. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Remigio’s thoughts were echoed by Rogue and Stephane. (Both declined to give last names.) Though the friends remain concerned with housing and healthcare in San Francisco, they don’t see an upcoming face-off between Trump and Biden offering real solutions to the nation’s problems.\u003c/p>\n\u003cp>“I feel like the options are not great,” Stephane, an international student, said. “Even if I was allowed to vote, I would need better options. I don’t really care about either of the candidates.”\u003c/p>\n\u003cp>“Yeah,” Rogue laughed, “it’s like: Poo-Poo or Pee-Pee!”\u003c/p>\n\u003cfigure id=\"attachment_13955648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-009-KQED.jpg\" alt=\"Two white women, one with a ponytail, one with cropped purple hair, stand close together, smiling warmly at each other. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCÉFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Sunny and Reece Johnson are politically disillusioned — one more so than the other. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also disillusioned with the election are Sunny and Reece Johnson, who’ve been happily married for 11 years.\u003c/p>\n\u003cp>“I will tell you that I have stopped thinking about [the election] because it’s distressing,” Reece said. “I do feel very unmotivated to vote, because I’m so burned out on the drama.”\u003c/p>\n\u003cp>“I would never \u003cem>not\u003c/em> vote, though,” Sunny interjected. “Never.”\u003c/p>\n\u003cp>Reece shrugged. “I would like to say that I would never not vote, but I’m so disenchanted.”\u003c/p>\n\u003cfigure id=\"attachment_13955651\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955651\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-024-KQED-e1712707940654.jpg\" alt=\"A drag queen strikes a pose in black lingerie and red dressing gown, next to a wooden fence decorated with lights.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Xochitl the Queen poses on the roof deck of Oasis shortly before performing on April 5, 2024. Xochitl works in deportation defense at USF Law and uses her drag to make political statements. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One fan who wishes she could vote is drag queen Xochitl. Shortly before her performance as auburn-haired temptress Jolene, Xochitl said she is “low-key scared” about the upcoming election.\u003c/p>\n\u003cp>“My future as a performer, as an artist, as an immigrant and as a member of this society is at risk, depending on who wins,” she said. “They say we have a choice, but it’s an illusion of a choice.”\u003c/p>\n\u003cp>As a DACA recipient, Xochitl is not eligible to vote, but strives to make a difference through her job at USF Law. She also utilizes performance to express herself politically.\u003c/p>\n\u003cp>“I make my voice heard by doing art, doing drag,” Xochitl explained. “My drag is inherently political. I’ve done numbers on stage where I burn the American flag as protest, as part of my work in deportation defense. I express my fear about drag bans through my art.”\u003c/p>\n\u003cfigure id=\"attachment_13955646\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955646\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BEYONCE%CC%81FANS-JY-006-KQED-e1712693763217.jpg\" alt=\"A person with glasses and short dark haircut, stands hands in pockets in front of a pink and red mural. \" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Dani Arevalos says their biggest concern as a member of the LGBTQ+ community is being respected and acknowledged as a person. \u003ccite>(Juliana Yamada/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many people we spoke with at Oasis, LGBTQ issues are front and center for Dani Arevalos, who feels dehumanized by recent attacks on gender nonconforming people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Looking to the future, my biggest concern is being respected as a human being,” Arevalos said. “I come from the Latin community, and also being LGBTQ … Honestly two very different communities [with] the same issue of being oppressed. I think going forward, being respected and being acknowledged [will help us] to move forward as a nation together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>[aside postid='arts_13955021']The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has made history once again. Her latest album, the epic \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Act ll: Cowboy Carter\u003c/em>\u003c/a>, hit No. 1 on the Billboard country albums chart, making her the first Black woman to top the chart since its 1964 inception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The album also topped the all-genres Billboard 200, marking her eighth No. 1 album. According to Luminate, the industry data and analytics company, \u003cem>Cowboy Carter\u003c/em> totaled 407,000 equivalent album units, a combination of pure album sales and on-demand streams, earned in the U.S. in its first week.\u003c/p>\n\u003cp>As a Black woman reclaiming country music, Beyoncé stands in opposition to stereotypical associations of the genre with whiteness. Conversation surrounding Beyoncé’s country music explorations began when she arrived at the 2024 Grammy Awards in full cowboy regalia — making a statement without saying a word. Then, \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl, she dropped two hybrid country songs\u003c/a>: “Texas Hold ’Em” and “16 Carriages,” eventually leading to the release of “Cowboy Carter.”\u003c/p>\n\u003cp>In February, “Texas Hold ’Em” reached No. 1 on the country airplay chart, making her the first Black woman to top that chart as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé’s ‘Cowboy Carter’ Is Here: Our First Impressions",
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"content": "\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ycwtqqhV6UE\u003c/p>\n\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxNMvZ5BhSU\u003c/p>\n\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GVDWWi3i-E\u003c/p>\n\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\n\u003cp>https://twitter.com/sweatpantspapi/status/1773577746020495687\u003c/p>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f4xrblI8Tvw\u003c/p>\n\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9qjKyMk9iI\u003c/p>\n\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg\" alt=\"A woman in red white and blue clothes, with a sash reading 'Cowboy Carter,' sitting side saddle on a horse and holding an American flag\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13955024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/beyonce-album-cover-te-240328-0b8c2c-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">It turns out that Beyoncé’s ‘Cowboy Carter’ is much more than the country album that fans expected. \u003ccite>(Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyoncé’s \u003cem>Cowboy Carter\u003c/em> is here — the artist’s eighth studio album and second in a trilogy to reclaim the overlooked Black contributions to American music. Of course, we devoured it as soon as it dropped. Hours after its release, here are some first impressions. \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/ycwtqqhV6UE'\n title='//www.youtube.com/embed/ycwtqqhV6UE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>This Ain’t Country\u003c/h2>\n\u003cp>So yeah, \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">Beyoncé didn’t lie\u003c/a>: this ain’t a country album. Beyoncé is better at \u003cem>telegraphing\u003c/em> country music than encapsulating it, anyway. On “Texas Hold ‘Em,” the signifiers are off. A country song wouldn’t need to specify you’re headed to a dive bar, since every bar in a country song is a dive bar, and you certainly wouldn’t need to say you “always thought” it was “nice.” That’s the girl in \u003cem>Ghost World\u003c/em> who thinks the local diner is “\u003ca href=\"https://www.youtube.com/watch?v=nxlccAn4UjI\">sooo… you know… \u003cem>funky\u003c/em>!\u003c/a>”\u003c/p>\n\u003cp>Charlie Parker, the jazz saxophonist, was once asked why he liked listening to country radio; “The stories,” he replied, “listen to the stories.” Are there story songs on \u003cem>Cowboy Carter\u003c/em>? Not many. Are there country songs, even? Not many. But what’s there is something even bigger and broader: Americana and indie-ish songs, a rap song, an opera aria, a whole lotta other stuff like Jersey Club and Son House and the Beach Boys, all in a big, ambitious swirling mix, greater than the sum of its parts. \u003c/p>\n\u003cp>Anyway, Beyoncé already wrote a great country song years ago. It has a car, a box of old stuff, and a cheating boyfriend. It’s called “Irreplaceable.”—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MxNMvZ5BhSU'\n title='//www.youtube.com/embed/MxNMvZ5BhSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>How They Made Me: Houston Texas, Baby\u003c/h2>\n\u003cp>In reality, Beyoncé never stopped being country — from the autobiographical \u003cem>Lemonade\u003c/em> track “Daddy Lessons,” which she performed at the 2016 Country Music Awards with the Chicks, to the Southern ancestry of “Formation,” her Creole roots have always been essential to her musical identity.\u003c/p>\n\u003cp>“Spaghettii” establishes this idea at the center of the album. The track opens with a clip of \u003ca href=\"https://pitchfork.com/reviews/albums/linda-martel-color-me-country/\">Linda Martell\u003c/a>, who many credit as the first commercially successful Black female artist in country music. “Genres are a funny little concept,” she says. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Beyoncé then raps over a Brazilian funk sample: “They call me the captain, the catwalk assassin / When they know it’s slappin’, then here come the yappin’,” referring to her haute couture getups and this album’s inevitable discourse.\u003c/p>\n\u003cp>Martell returns to introduce “Ya Ya”: “This particular tune stretches across a range of genres, and that’s what makes it a unique listening experience.” That may be the best description of \u003cem>Cowboy Carter\u003c/em> – a journey that Beyoncé takes the listener on, beyond the realm of pop, R&B and country.\u003cem>—Ugur Dursun\u003c/em>\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/7GVDWWi3i-E'\n title='//www.youtube.com/embed/7GVDWWi3i-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sometimes tha Side Chick Ain’t Even a Chick, \u003ca href=\"https://pbs.twimg.com/media/GHSa0ZbbUAAxs3Q?format=jpg&name=small\">It’s the Gorgeous and Proud Nation of Ireland\u003c/a>\u003c/h2>\n\u003cp>Ireland is having a hot streak: Cillian Murphy won an Oscar, the people’s princess Ayo Edebiri and normal person Paul Mescal \u003ca href=\"https://www.eonline.com/news/1397582/why-this-photo-of-paul-mescal-and-ayo-edebiri-has-the-internet-buzzing\">maybe or maybe not announced a relationship\u003c/a> and/or \u003ca href=\"https://variety.com/2024/tv/news/emily-henry-ayo-edebiri-paul-mescal-rumor-beach-read-casting-1235951258/\">a movie\u003c/a> on St. Patrick’s Day, Hozier released a new song, and now Beyonce’s “Riiverdance.” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anyways. The reason why I was so taken by \u003cem>Renaissance\u003c/em> – and why listening to \u003cem>Cowboy Carter\u003c/em> is such a journey – is because I’m listening to years and years of music references, collaborations, genres and history woven together in something so sharp, thoughtful and rich. I just can’t wait to read essays about every production choice and homage in this album – every detail, every lyric about the life of a country singer, every little clack of her nails. I love learning! \u003c/p>\n\u003cp>Aaah, these sweeping, choir-sounding cinematic qualities of the album, like “Ameriican Requiem!” Damn, it’s such a cool, excellent piece of work. (It’s why I’m just going to ignore “Jolene” real hard (sorry sorry sorry sorry.))\u003cem>—Nisa Khan\u003c/em>\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/f4xrblI8Tvw'\n title='//www.youtube.com/embed/f4xrblI8Tvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Beyoncé as Guardian and ‘Protector’\u003c/h2>\n\u003cp>I wasn’t sure what to expect after the foot-stomping radio single “Texas Hold ’Em,” but wow — the harmonies. From opening track “Ameriican Requiem” and throughout \u003cem>Cowboy Carter\u003c/em>, Beyoncé envelops us in wispy layers of her vocals, which feel as expansive as looking up at a night sky somewhere down a winding back road. Much like how I was dazzled by the stripped-down opening of her Renaissance tour, I love when Beyoncé reminds us that, beyond her maximalist showmanship, she’s built this empire because she can really \u003ci>sing\u003c/i>. \u003c/p>\n\u003cp>Even at 27 tracks, \u003ci>Cowboy Carter\u003c/i> doesn’t feel bloated. Amid the wide range of styles, and the nods to both mainstream country icons and unsung heroes, a new theme reveals itself: Beyoncé tapping into her strength as a defender and guardian of the vulnerable. She embodies that beautifully on “Protector,” a delicately strummed ballad dedicated to her children. On “Daughter,” she shows the aggressive side of that same energy: “If you cross me, I’m just like my father / I am colder than titanic waters.” In past work, Beyoncé has often embodied an archetypal femininity of being gazed upon and wanted. It’s cool seeing her in the driver’s seat here, shotgun in her lap.\u003cem>—Nastia Voynovskaya\u003c/em>\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/E9qjKyMk9iI'\n title='//www.youtube.com/embed/E9qjKyMk9iI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Fresno Family Station Wagon\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé and I go way back to when I had no bills. Whenever my Christian parents went shopping, I’d sit in the family station wagon and turn the radio dial past Central Valley country stations to B95, Fresno’s hip-hop hits powerhouse. \u003cem>Cowboy Carter\u003c/em> comes full circle for me. So many Black and brown Americans live in rural areas inundated by white country radio hits, and \u003cem>maybe\u003c/em> a single hip-hop station. Beyoncé links the two in this album. The dreamy wails of “Ameriican Requiem,” the backseat road trip feel of “Bodyguard,” the operatic tones of “Daughter,” the reclaiming of “Jolene” — I walked San Francisco’s meandering avenues, listening last night and feeling like I was back in my parent’s rusted silver car, flipping through the stations. What lingers is the spaghetti Beyoncé’s thrown at the wall: a fun genre-bending concept where she isn’t afraid to show her scars.—\u003cem>Ezra David Romero\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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},
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"airtime": "SUN 7:30pm-8pm",
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},
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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},
"latino-usa": {
"id": "latino-usa",
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"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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"live-from-here-highlights": {
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"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. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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"link": "/radio/program/live-from-here-highlights",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
"id": "marketplace",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"officialWebsiteLink": "/mindshift/",
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"order": 13
},
"link": "/podcasts/mindshift",
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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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"order": 12
},
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"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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},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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"meta": {
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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},
"perspectives": {
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
"link": "/perspectives",
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"planet-money": {
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"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",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
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"order": 6
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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