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"content": "\u003cp>Music is powerful. Avid concertgoers know that a live show can do more than just entertain — it can move you, teach you and even patch up a wounded soul (or knee!). This year, I’ve had the pleasure of seeing some incredible local artists like \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, budding pop starlets like Reneé Rapp and Addison Rae, and global icons like Kylie Minogue and \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in concert. Here are four of the most memorable moments that have stayed with me.\u003c/p>\n\u003ch2>LaRussell’s healing powers at SFMOMA\u003c/h2>\n\u003cp>When a friend invited me to the San Francisco Museum of Modern Art for its members-only preview night celebrating the new \u003cem>Kaws: Family\u003c/em> exhibit, I jumped at the chance — not because of the \u003ca href=\"https://www.kqed.org/arts/13983879/guide-after-thanksgiving-bay-area-museums-art-family-friendly\">TikTok-ready sculptures\u003c/a>, but because LaRussell was slated to play a live set on the fifth floor terrace. As luck would have it, I tripped and fell on my walk from the Muni station to the museum, giving myself a gnarly wound, but I wasn’t going to let that set me back.\u003c/p>\n\u003cfigure id=\"attachment_13984527\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at the San Francisco Museum of Modern Art on Nov. 14, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the slight chill of a November evening, I soaked in the positive energy the Vallejo rapper carries with him everywhere he performs, briefly forgetting the physical pain I was in. As he played one Bay Area banger after another, the crowd loosened up, bodies moving in unison to Mac Dre’s “Thizzle Dance” and more. In between songs, he made sure to engage with the fans, old and new, who packed up the terrace to its full capacity. [aside postid='arts_13984148']\u003c/p>\n\u003cp>But my favorite moment was when LaRussell asked for a free SFMOMA membership after talking about how inaccessible events like this seemed to him previously, cracking a joke about the evergreen issues of affordability and elitism in the art world.\u003c/p>\n\u003cp>LaRussell made us laugh, dance and think. And for that, I was thankful.\u003c/p>\n\u003ch2>An epic Destiny’s Child reunion at the Raiders’ new home\u003c/h2>\n\u003cfigure id=\"attachment_13984528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg\" alt=\"\" width=\"2000\" height=\"1453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2048x1488.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams, Beyoncé and Kelly Rowland on stage at Allegiant Stadium on July 26, 2025. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wrote about \u003ca href=\"https://www.kqed.org/arts/13975458/beyonce-cowboy-carter-tour-sofi-stadium-los-angeles-review\">my experience\u003c/a> flying to Los Angeles to catch the opening night of Beyoncé’s Cowboy Carter Tour in April. It was an epic show with a clear message, honoring the Black American roots of country music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In July, when I traveled to Las Vegas to catch the last show of the tour, I could not have imagined the surprise Queen Bey had in store for her fans: a Destiny’s Child guest appearance featuring Kelly Rowland and Michelle Williams, marking their first public performance together since their Coachella reunion in 2018.\u003c/p>\n\u003cp>The silhouette of the trio emerging from the stage lift was enough to send the crowd into a frenzy. My personal response was turning to my friend and screaming “NO!” repeatedly in disbelief.\u003c/p>\n\u003cp>The group quickly left the stage after performing “Lose My Breath” and “Bootylicious,” but I haven’t stopped thinking about that night since.\u003c/p>\n\u003ch2>Everybody fainted at the sight of Reneé Rapp\u003c/h2>\n\u003cfigure id=\"attachment_13984535\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Bill Graham Civic Auditorium on Oct. 15, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, I’ve been to enough shows in my life to know that a person fainting at a concert is not newsworthy in itself. But what transpired at pop music up-and-comer Reneé Rapp’s tour stop at Bill Graham Civic Auditorium was more unusual.\u003c/p>\n\u003cp>Several times throughout her show, at least three distinct moments I can recall, the singer was forced to pause her performance to assist passed-out fans in the audience and call on venue staff to provide support. I have never seen another show that was disrupted so many times for the same reason. [aside postid='arts_13984468']\u003c/p>\n\u003cp>My guess is that some of Rapp’s more rabid fans might have neglected to hydrate and eat in favor of securing their spot near the front barricade. What can I say, San Francisco showed out for the lesbian icon-in-the-making!\u003c/p>\n\u003cp>Despite the interruptions, Reneé Rapp’s strong vocal performance and catalog full of earworms were enough to satisfy those of us who were still conscious at the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13936936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg\" alt=\"Two people greet each other in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo greets guests during the rapper and producer’s Very Good Food Tour at Señor Sisig in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo brought out Too $hort at the Bay FC Game\u003c/h2>\n\u003cp>2025 was the year I fell in love with following women’s sports — and I know I’m not the only one feeling this way. When Bay FC, the Bay Area’s women’s soccer team, announced that they would play a game at San Francisco’s Oracle Park over the summer, a friend of mine quickly arranged for a dozen of us to pull up to the game.\u003c/p>\n\u003cp>What we didn’t know was that the game would be one for the history books. With over 40,000 fans in attendance, that afternoon set a new record for the largest audience in the National Women’s Soccer League history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The halftime show included a stellar performance by East Bay rapper \u003ca href=\"http://instagram.com/reel/DNyJYkpYhBg/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==\">P-Lo\u003c/a>, but his special guest, Too $hort, stole the show with “Blow the Whistle.” Never have I ever felt safer screaming the words to that song (“What’s my favorite word? / Biiiiiiiiitch”) than in the presence of 40,000 women’s sports fans.\u003c/p>\n\n",
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"excerpt": "A Destiny’s Child reunion, LaRussell at SFMOMA and other shows reminded me that music heals.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music is powerful. Avid concertgoers know that a live show can do more than just entertain — it can move you, teach you and even patch up a wounded soul (or knee!). This year, I’ve had the pleasure of seeing some incredible local artists like \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, budding pop starlets like Reneé Rapp and Addison Rae, and global icons like Kylie Minogue and \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in concert. Here are four of the most memorable moments that have stayed with me.\u003c/p>\n\u003ch2>LaRussell’s healing powers at SFMOMA\u003c/h2>\n\u003cp>When a friend invited me to the San Francisco Museum of Modern Art for its members-only preview night celebrating the new \u003cem>Kaws: Family\u003c/em> exhibit, I jumped at the chance — not because of the \u003ca href=\"https://www.kqed.org/arts/13983879/guide-after-thanksgiving-bay-area-museums-art-family-friendly\">TikTok-ready sculptures\u003c/a>, but because LaRussell was slated to play a live set on the fifth floor terrace. As luck would have it, I tripped and fell on my walk from the Muni station to the museum, giving myself a gnarly wound, but I wasn’t going to let that set me back.\u003c/p>\n\u003cfigure id=\"attachment_13984527\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at the San Francisco Museum of Modern Art on Nov. 14, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the slight chill of a November evening, I soaked in the positive energy the Vallejo rapper carries with him everywhere he performs, briefly forgetting the physical pain I was in. As he played one Bay Area banger after another, the crowd loosened up, bodies moving in unison to Mac Dre’s “Thizzle Dance” and more. In between songs, he made sure to engage with the fans, old and new, who packed up the terrace to its full capacity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But my favorite moment was when LaRussell asked for a free SFMOMA membership after talking about how inaccessible events like this seemed to him previously, cracking a joke about the evergreen issues of affordability and elitism in the art world.\u003c/p>\n\u003cp>LaRussell made us laugh, dance and think. And for that, I was thankful.\u003c/p>\n\u003ch2>An epic Destiny’s Child reunion at the Raiders’ new home\u003c/h2>\n\u003cfigure id=\"attachment_13984528\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13984528\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg\" alt=\"\" width=\"2000\" height=\"1453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2000x1453.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/20250726_CCT_LasVegas_Dakdouk_JD2_083009_WEB-2048x1488.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Williams, Beyoncé and Kelly Rowland on stage at Allegiant Stadium on July 26, 2025. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wrote about \u003ca href=\"https://www.kqed.org/arts/13975458/beyonce-cowboy-carter-tour-sofi-stadium-los-angeles-review\">my experience\u003c/a> flying to Los Angeles to catch the opening night of Beyoncé’s Cowboy Carter Tour in April. It was an epic show with a clear message, honoring the Black American roots of country music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In July, when I traveled to Las Vegas to catch the last show of the tour, I could not have imagined the surprise Queen Bey had in store for her fans: a Destiny’s Child guest appearance featuring Kelly Rowland and Michelle Williams, marking their first public performance together since their Coachella reunion in 2018.\u003c/p>\n\u003cp>The silhouette of the trio emerging from the stage lift was enough to send the crowd into a frenzy. My personal response was turning to my friend and screaming “NO!” repeatedly in disbelief.\u003c/p>\n\u003cp>The group quickly left the stage after performing “Lose My Breath” and “Bootylicious,” but I haven’t stopped thinking about that night since.\u003c/p>\n\u003ch2>Everybody fainted at the sight of Reneé Rapp\u003c/h2>\n\u003cfigure id=\"attachment_13984535\" class=\"wp-caption aligncenter\" style=\"max-width: 1284px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png\" alt=\"\" width=\"1284\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2.png 1284w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/View-recent-photos-2-768x512.png 768w\" sizes=\"auto, (max-width: 1284px) 100vw, 1284px\">\u003cfigcaption class=\"wp-caption-text\">Reneé Rapp performs at Bill Graham Civic Auditorium on Oct. 15, 2025. \u003ccite>(Ugur Dursun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, I’ve been to enough shows in my life to know that a person fainting at a concert is not newsworthy in itself. But what transpired at pop music up-and-comer Reneé Rapp’s tour stop at Bill Graham Civic Auditorium was more unusual.\u003c/p>\n\u003cp>Several times throughout her show, at least three distinct moments I can recall, the singer was forced to pause her performance to assist passed-out fans in the audience and call on venue staff to provide support. I have never seen another show that was disrupted so many times for the same reason. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My guess is that some of Rapp’s more rabid fans might have neglected to hydrate and eat in favor of securing their spot near the front barricade. What can I say, San Francisco showed out for the lesbian icon-in-the-making!\u003c/p>\n\u003cp>Despite the interruptions, Reneé Rapp’s strong vocal performance and catalog full of earworms were enough to satisfy those of us who were still conscious at the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13936936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg\" alt=\"Two people greet each other in an outdoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231021-PLoFoodInterview-036-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo greets guests during the rapper and producer’s Very Good Food Tour at Señor Sisig in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo brought out Too $hort at the Bay FC Game\u003c/h2>\n\u003cp>2025 was the year I fell in love with following women’s sports — and I know I’m not the only one feeling this way. When Bay FC, the Bay Area’s women’s soccer team, announced that they would play a game at San Francisco’s Oracle Park over the summer, a friend of mine quickly arranged for a dozen of us to pull up to the game.\u003c/p>\n\u003cp>What we didn’t know was that the game would be one for the history books. With over 40,000 fans in attendance, that afternoon set a new record for the largest audience in the National Women’s Soccer League history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The halftime show included a stellar performance by East Bay rapper \u003ca href=\"http://instagram.com/reel/DNyJYkpYhBg/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==\">P-Lo\u003c/a>, but his special guest, Too $hort, stole the show with “Blow the Whistle.” Never have I ever felt safer screaming the words to that song (“What’s my favorite word? / Biiiiiiiiitch”) than in the presence of 40,000 women’s sports fans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jeans-kurt-cobain-freddie-mercury-beyonce-on-show-levis-headquarters-san-francisco",
"title": "Learning About Kurt Cobain, Freddie Mercury and Beyoncé From Their Denim",
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"headTitle": "Learning About Kurt Cobain, Freddie Mercury and Beyoncé From Their Denim | KQED",
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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>\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>\u003c/p>\u003c/div>",
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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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"slug": "beyonce-cowboy-carter-tour-sofi-stadium-los-angeles-review",
"title": "Beyoncé Kicks Off Cowboy Carter Tour as Fans Flock to L.A.",
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"headTitle": "Beyoncé Kicks Off Cowboy Carter Tour as Fans Flock to L.A. | KQED",
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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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"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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"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/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\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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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"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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"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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"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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"title": "Beyoncé Becomes First Black Woman to Hit No. 1 on Country Albums Chart",
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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>\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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"content": "\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\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/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Belong Here’: Miko Marks Talks Black Women, Country Music and Beyoncé",
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"content": "\u003cp>A new national tour paying homage to \u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">“Trailblazing Women of Country”\u003c/a> comes to Northern California this weekend featuring a familiar Bay Area voice: country singer \u003ca href=\"https://www.mikomarks.com/\">Miko Marks\u003c/a>.\u003c/p>\n\u003cp>Marks, based out of Oakland, will hit the stage alongside Nashville-based singer Kristina Train and an all-female band to cover music from the beloved songbooks of Patsy Cline, Loretta Lynn and Dolly Parton. The tour stops at Rohnert Park’s \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center on March 9\u003c/a> and Livermore’s \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center on March 15\u003c/a>.\u003c/p>\n\u003cp>I spoke with Miko Marks via Zoom about the tour, and what these legendary artists mean to her. Of course, we also talked about Black country music artists getting a spotlight following the buzz around Beyoncé’s \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-hot-100-number-one-second-week-1235621285/\">chart-topping new country music\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Interview has been edited and condensed for clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl: I saw a quote where you say this tour feels like your childhood reimagined. Tell me more about that – what memories does it conjure for you?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Miko Marks: \u003c/b>I grew up with my grandmother who migrated from Mississippi to Flint, Michigan. She brought the music and the culture from Mississippi. I would come over to her house after school, try to watch cartoons and she’d be like, “Baby, turn that off. Let’s put this music on. I want you to hear this.” And she just fed me — Dolly, Loretta, Patsy. Kenny Rogers, Johnny Paycheck, Waylon Jennings. She had such a plethora of music in her wheelhouse. There was R&B, there was jazz, but there was mostly country and gospel.\u003c/p>\n\u003cp>The [country] songs really stuck out to me, because they told stories that I could relate to. Like Loretta talked about being a \u003ca href=\"https://www.youtube.com/watch?v=uEeR576KyjU\">coal miner’s daughter\u003c/a> – how they didn’t have much, but her dad made sure they had enough, and that they had love. I feel like that’s where I came from. We didn’t have much, but my mom was out there working second and third shifts, and my grandmother was there to love on me and gave me my first listens to country music. I’m really grateful for that, because it put me on the path that I’m on, which I really love.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VWZ-319bOS0\u003c/p>\n\u003cp>\u003cb>Is there a particular song you’re excited to cover for the tour? \u003c/b>\u003c/p>\n\u003cp>I love performing “Coal Miner’s Daughter,” and I love performing “\u003ca href=\"https://www.youtube.com/watch?v=6EbJeJYZ7LU\">Coat of Many Colors\u003c/a>” by Dolly Parton. [Dolly] actually said that’s her most favorite song that she wrote. She’s like, “My coat is beautiful.” It was just sewn together with rags that people sent her mom, but she couldn’t wait to wear that coat. That pureness and innocence is really precious to me, because I felt that same way. I would go to school, kids would laugh at my clothes and make fun of me. But I felt like, “My mama got this for me. My granny gave me this.” I had some pride around that. So those two songs are really, really special. Sometimes I well up in tears because it takes me back to my upbringing.\u003c/p>\n\u003cp>[aside postID='arts_13859970']\u003cb>Tell me about being backed by an all-female band for this tour! How does that feel? \u003c/b>\u003c/p>\n\u003cp>It’s so exciting. It’s unlike anything I’ve ever done. This is a Nashville-based women’s band. We all met each other and had the material on our own, and when we put it together, it was like magic. I can tell that this is not the end for us. Like once this tour’s over, we’re going to continue to do things. I can just feel that.\u003c/p>\n\u003cp>\u003cb>So let’s talk Beyoncé, who recently made history by being the \u003ca href=\"https://www.vulture.com/article/beyonce-texas-hold-em-no-1-country-chart.html\">first Black woman to get a No. 1 song on the country music charts\u003c/a>. She’s sparked all sorts of thinkpieces around Black people and country music. As someone who’s a Black woman in this industry, what’s your take on all the conversation she’s stirred up? \u003c/b>\u003c/p>\n\u003cp>First of all, I’m very happy for the recognition it’s bringing to artists who have been in the game for a long time. They’re being seen now. And she brought that to this level, to where people are actually going down the rabbit hole of music made by Black country artists or Black artists in Americana. That’s the glass half full on it.\u003c/p>\n\u003cp>But it does sadden me to a degree that it took Beyoncé to come and shine this light. Nevertheless, I’m so grateful for the light. There have been so many artists that have been in this genre for so long working diligently, making really good music and now that’s being seen. So I’m thinking it’s a positive, because it is really opening up the gates for the masses to see that we are here, and we belong here, and we helped create this genre.\u003c/p>\n\u003cp>[aside postID='news_11934967']\u003cb>Right, and folk/Americana musician \u003c/b>\u003ca href=\"https://rhiannongiddens.com/\">\u003cb>Rhiannon Giddens\u003c/b>\u003c/a> (\u003cb>who plays banjo and viola on Beyonc\u003c/b>\u003cb>é\u003c/b>\u003cb>’s \u003c/b>\u003ca href=\"https://www.youtube.com/watch?v=238Z4YaAr1g\">\u003cb>“Texas Hold ‘Em”\u003c/b>\u003c/a>\u003cb> track ) wrote \u003c/b>\u003ca href=\"https://www.theguardian.com/music/2024/feb/27/black-artistry-is-woven-into-the-fabric-of-country-music-it-belongs-to-everyone-beyonce-texas-hold-em-rhiannon-giddens\">\u003cb>a piece for the Guardian\u003c/b>\u003c/a>\u003cb> to really underline, ‘Hey, we co-created this. This is not just Black people taking something and putting our spin on it. We’ve been here since the origin of it.’\u003c/b>\u003c/p>\n\u003cp>I love how Rhiannon is going back [through history] and showing that. There’s so much to pull from historically that has been pushed under the rug. So it’s nice to see everything rise to the top. She and \u003ca href=\"https://rissipalmermusic.com/\">Rissi Palmer\u003c/a> – they’re our champion spokeswomen. I’m honored having them as champions, and being one myself. It’s nice that people are getting educated on the true history of country music. It’s 2024, but no time like the present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y2BZJTQFuZQ\u003c/p>\n\u003cp>\u003cb>With all that being said, does it feel meaningful that you, a Black woman, are one of the two vocalists performing on this tour – which is likely to have a more white demographic in the audience?\u003c/b>\u003c/p>\n\u003cp>Absolutely. Our first song that we do together is [Loretta Lynn’s] “\u003ca href=\"https://www.youtube.com/watch?v=hTEA9ffM8DA\">You’re Looking at Country\u003c/a>.” And the first night we did that, I was like, here’s a Black woman and a white woman standing here saying, “You’re looking at country.” And this is true – we are representations of what our country, fortunately, looks like.\u003c/p>\n\u003cp>As I sing that song, I’m thinking about what the audience might be thinking. But I know what they’re thinking at the end of the show, because they greet me with love, kindness, purchasing of my merchandise and just being really connected. So I’m pretty excited about the whole visual and the whole presentation of Kristina Train and me. \u003ca href=\"https://www.instagram.com/reel/C35B6grgQac/?utm_source=ig_embed&utm_campaign=loading\">Our voices blend so well together\u003c/a>, and it’s just good to have all women [on stage], and be a reflection of what country music really looks like.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The Trailblazing Women of Country Tour plays the \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center in Rohnert Park on March 9\u003c/a> and the \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center in Livermore on March 15\u003c/a>. \u003c/i>\u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">\u003ci>Ticket info here.\u003c/i>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new national tour paying homage to \u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">“Trailblazing Women of Country”\u003c/a> comes to Northern California this weekend featuring a familiar Bay Area voice: country singer \u003ca href=\"https://www.mikomarks.com/\">Miko Marks\u003c/a>.\u003c/p>\n\u003cp>Marks, based out of Oakland, will hit the stage alongside Nashville-based singer Kristina Train and an all-female band to cover music from the beloved songbooks of Patsy Cline, Loretta Lynn and Dolly Parton. The tour stops at Rohnert Park’s \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center on March 9\u003c/a> and Livermore’s \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center on March 15\u003c/a>.\u003c/p>\n\u003cp>I spoke with Miko Marks via Zoom about the tour, and what these legendary artists mean to her. Of course, we also talked about Black country music artists getting a spotlight following the buzz around Beyoncé’s \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-hot-100-number-one-second-week-1235621285/\">chart-topping new country music\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Interview has been edited and condensed for clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl: I saw a quote where you say this tour feels like your childhood reimagined. Tell me more about that – what memories does it conjure for you?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Miko Marks: \u003c/b>I grew up with my grandmother who migrated from Mississippi to Flint, Michigan. She brought the music and the culture from Mississippi. I would come over to her house after school, try to watch cartoons and she’d be like, “Baby, turn that off. Let’s put this music on. I want you to hear this.” And she just fed me — Dolly, Loretta, Patsy. Kenny Rogers, Johnny Paycheck, Waylon Jennings. She had such a plethora of music in her wheelhouse. There was R&B, there was jazz, but there was mostly country and gospel.\u003c/p>\n\u003cp>The [country] songs really stuck out to me, because they told stories that I could relate to. Like Loretta talked about being a \u003ca href=\"https://www.youtube.com/watch?v=uEeR576KyjU\">coal miner’s daughter\u003c/a> – how they didn’t have much, but her dad made sure they had enough, and that they had love. I feel like that’s where I came from. We didn’t have much, but my mom was out there working second and third shifts, and my grandmother was there to love on me and gave me my first listens to country music. I’m really grateful for that, because it put me on the path that I’m on, which I really love.\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/VWZ-319bOS0'\n title='//www.youtube.com/embed/VWZ-319bOS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Is there a particular song you’re excited to cover for the tour? \u003c/b>\u003c/p>\n\u003cp>I love performing “Coal Miner’s Daughter,” and I love performing “\u003ca href=\"https://www.youtube.com/watch?v=6EbJeJYZ7LU\">Coat of Many Colors\u003c/a>” by Dolly Parton. [Dolly] actually said that’s her most favorite song that she wrote. She’s like, “My coat is beautiful.” It was just sewn together with rags that people sent her mom, but she couldn’t wait to wear that coat. That pureness and innocence is really precious to me, because I felt that same way. I would go to school, kids would laugh at my clothes and make fun of me. But I felt like, “My mama got this for me. My granny gave me this.” I had some pride around that. So those two songs are really, really special. Sometimes I well up in tears because it takes me back to my upbringing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cb>Tell me about being backed by an all-female band for this tour! How does that feel? \u003c/b>\u003c/p>\n\u003cp>It’s so exciting. It’s unlike anything I’ve ever done. This is a Nashville-based women’s band. We all met each other and had the material on our own, and when we put it together, it was like magic. I can tell that this is not the end for us. Like once this tour’s over, we’re going to continue to do things. I can just feel that.\u003c/p>\n\u003cp>\u003cb>So let’s talk Beyoncé, who recently made history by being the \u003ca href=\"https://www.vulture.com/article/beyonce-texas-hold-em-no-1-country-chart.html\">first Black woman to get a No. 1 song on the country music charts\u003c/a>. She’s sparked all sorts of thinkpieces around Black people and country music. As someone who’s a Black woman in this industry, what’s your take on all the conversation she’s stirred up? \u003c/b>\u003c/p>\n\u003cp>First of all, I’m very happy for the recognition it’s bringing to artists who have been in the game for a long time. They’re being seen now. And she brought that to this level, to where people are actually going down the rabbit hole of music made by Black country artists or Black artists in Americana. That’s the glass half full on it.\u003c/p>\n\u003cp>But it does sadden me to a degree that it took Beyoncé to come and shine this light. Nevertheless, I’m so grateful for the light. There have been so many artists that have been in this genre for so long working diligently, making really good music and now that’s being seen. So I’m thinking it’s a positive, because it is really opening up the gates for the masses to see that we are here, and we belong here, and we helped create this genre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cb>Right, and folk/Americana musician \u003c/b>\u003ca href=\"https://rhiannongiddens.com/\">\u003cb>Rhiannon Giddens\u003c/b>\u003c/a> (\u003cb>who plays banjo and viola on Beyonc\u003c/b>\u003cb>é\u003c/b>\u003cb>’s \u003c/b>\u003ca href=\"https://www.youtube.com/watch?v=238Z4YaAr1g\">\u003cb>“Texas Hold ‘Em”\u003c/b>\u003c/a>\u003cb> track ) wrote \u003c/b>\u003ca href=\"https://www.theguardian.com/music/2024/feb/27/black-artistry-is-woven-into-the-fabric-of-country-music-it-belongs-to-everyone-beyonce-texas-hold-em-rhiannon-giddens\">\u003cb>a piece for the Guardian\u003c/b>\u003c/a>\u003cb> to really underline, ‘Hey, we co-created this. This is not just Black people taking something and putting our spin on it. We’ve been here since the origin of it.’\u003c/b>\u003c/p>\n\u003cp>I love how Rhiannon is going back [through history] and showing that. There’s so much to pull from historically that has been pushed under the rug. So it’s nice to see everything rise to the top. She and \u003ca href=\"https://rissipalmermusic.com/\">Rissi Palmer\u003c/a> – they’re our champion spokeswomen. I’m honored having them as champions, and being one myself. It’s nice that people are getting educated on the true history of country music. It’s 2024, but no time like the present.\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/Y2BZJTQFuZQ'\n title='//www.youtube.com/embed/Y2BZJTQFuZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>With all that being said, does it feel meaningful that you, a Black woman, are one of the two vocalists performing on this tour – which is likely to have a more white demographic in the audience?\u003c/b>\u003c/p>\n\u003cp>Absolutely. Our first song that we do together is [Loretta Lynn’s] “\u003ca href=\"https://www.youtube.com/watch?v=hTEA9ffM8DA\">You’re Looking at Country\u003c/a>.” And the first night we did that, I was like, here’s a Black woman and a white woman standing here saying, “You’re looking at country.” And this is true – we are representations of what our country, fortunately, looks like.\u003c/p>\n\u003cp>As I sing that song, I’m thinking about what the audience might be thinking. But I know what they’re thinking at the end of the show, because they greet me with love, kindness, purchasing of my merchandise and just being really connected. So I’m pretty excited about the whole visual and the whole presentation of Kristina Train and me. \u003ca href=\"https://www.instagram.com/reel/C35B6grgQac/?utm_source=ig_embed&utm_campaign=loading\">Our voices blend so well together\u003c/a>, and it’s just good to have all women [on stage], and be a reflection of what country music really looks like.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Trailblazing Women of Country Tour plays the \u003ca href=\"https://gmc.sonoma.edu/trailblazing-women/\">Green Music Center in Rohnert Park on March 9\u003c/a> and the \u003ca href=\"https://livermorearts.org/events/trailblazing-women-of-country-from-patsy-to-loretta-to-dolly/\">Livermore Valley Performing Arts Center in Livermore on March 15\u003c/a>. \u003c/i>\u003ca href=\"https://imgartists.com/roster/trailblazing-tour/\">\u003ci>Ticket info here.\u003c/i>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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