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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\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/-fV37wdHG8U'\n title='//www.youtube.com/embed/-fV37wdHG8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\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/g92AYBlNOi0'\n title='//www.youtube.com/embed/g92AYBlNOi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">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+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Oakland-Born Dancer Konkrete Ended Up on Tour with Beyoncé",
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"content": "\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/C0UIzqEAo1I/\u003c/p>\n\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. [aside postid='arts_13932887']\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. [aside postid='arts_13939484']\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\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>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13940046\" class=\"wp-caption aligncenter\" style=\"max-width: 1951px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg\" alt=\"A dancer with bleached hair stands on one knee while Beyoncé walks down a catwalk behind him.\" width=\"1951\" height=\"2001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped.jpeg 1951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-800x821.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1020x1046.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-768x788.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1498x1536.jpeg 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-NYC-1-PT3-08-cropped-1920x1969.jpeg 1920w\" sizes=\"(max-width: 1951px) 100vw, 1951px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in New York City in July 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no doubt 2023 was the year of \u003ci>Renaissance\u003c/i>. \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> took her critically acclaimed seventh studio album on the road and broke records, bringing in over $500 million in ticket sales and doing her part to revitalize the U.S. economy. She was declared an honorary mayor of Santa Clara when she played a \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">sold-out show at Levi’s Stadium in August\u003c/a>. Then, similarly to Taylor Swift, she cut a deal with AMC to directly \u003ca href=\"https://www.npr.org/2023/12/06/1197958699/renaissance-a-film-by-beyonce-is-maximalist-excellence\">release her tour movie\u003c/a> in theaters across the globe last month, bypassing major studios.\u003c/p>\n\u003cp>It is in that movie that many \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">fans\u003c/a> noticed a familiar face — or perhaps neck — from the Bay Area. One of the dancers on the tour, \u003ca href=\"https://knkrtworld.com/\">Kevin “Konkrete” Davis Jr.\u003c/a>, appeared onscreen with a tattoo of an oak tree with roots, a variation on the City of Oakland’s official logo.\u003c/p>\n\u003cp>Davis spoke to KQED about his Oakland and Sacramento upbringing, how he landed a spot on Beyoncé’s Renaissance World Tour and his favorite spots to hit up when he’s back in the Bay.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>When I was in my seat on the opening night of the film in Emeryville, your neck tattoo got a loud reaction from the crowd, pleasantly surprised to see the Town represented in this way. What’s the story behind it?\u003c/strong>\u003c/p>\n\u003cp>I was born in Oakland, I’m strictly from the Town, but I was raised in Sacramento. I moved to Sacramento in third grade, then moved back to Oakland — did a lot of back and forth, the whole Northern California trip, if you know what I mean. But I got this tattoo because Oakland is my roots. And it’s like a code, because there are people from the Bay everywhere, especially in the entertainment industry. When they see \u003ca href=\"https://www.instagram.com/p/Cv7mSFsOgOa/?utm_source=ig_web_copy_link&igsh=ZTcxMWMzOWQ1OA%3D%3D\">my tattoo\u003c/a>, they go, “You’re from Oakland, huh?”\u003c/p>\n\u003cfigure id=\"attachment_13940054\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg\" alt=\"Konkrete looks into the distance while wearing a grey suit and sunglasses. His oak tree neck tattoo, symbolizing Oakland, is visible.\" width=\"660\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy.jpeg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/konkrete-press-photo-copy-160x193.jpeg 160w\" sizes=\"(max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-born dancer, choreographer and musician Konkrete has worked with Beyoncé, Busta Rhymes and Eddie Murphy. \u003ccite>(Courtesy of Konkrete)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there a local crew or dance studio that you came up in?\u003c/strong>\u003c/p>\n\u003cp>To be honest, a lot of my dance upbringing was more freelance. I used to just gig in the clubs and, you know, battle in the streets. The only studio that I was involved with was in Sacramento, called Step I, and I was with my brother Phil [Tayag] from \u003ca href=\"https://www.jbwkz.com/\">The Jabbawockeez\u003c/a>. He had this crew called \u003ca href=\"https://www.instagram.com/p/BExEbVGhkNQ/\">Boogie Monstarz\u003c/a>. I used to go in there and watch people.\u003c/p>\n\u003cp>\u003cstrong>Tell me about getting the call for Beyoncé’s Renaissance World Tour. Was she on the line? How did you react?\u003c/strong>\u003c/p>\n\u003cp>I was actually just shooting some content with some of my homies when I got the call from the choreographer. And they said, basically, “Bey wants you.” So I was immediately like, “Excuse me, what do I need to do?” That was an exciting call, man. It lets me know that what I’m doing is working. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé saw my stuff through one of the choreographers of the tour, \u003ca href=\"https://www.instagram.com/iamtiarivera/?hl=en\">Tia Rivera\u003c/a>, who I’ve known since moving to Los Angeles. Bey saw my work and she said, “Him.” It’s crazy. I was just krumping in little videos, and posting them on social media, you know? That was like a real blessing right there.\u003c/p>\n\u003cp>\u003cstrong>I’m curious — was training and rehearsing for this tour different from your other jobs?\u003c/strong>\u003c/p>\n\u003cp>It was forever training. I mean, we trained the whole time to make the show better. We rehearsed for it nonstop for a few months before the tour, and it was a challenge for us. It was a challenge for Beyoncé, as well, because she wanted to do something that’s never been done before. We did it, though. Of course, it was difficult. I’m not a person that does choreography like that — I know how to tap into it, and I’ve done choreography over the years, but this was the most choreography I’ve ever learned. And it just paid off.\u003c/p>\n\u003cp>\u003cstrong>It sure did. That was clear when I attended the show in Santa Clara over the summer. What was your favorite part of the show? Did you have a favorite song to perform?\u003c/strong>\u003c/p>\n\u003cp>It was “ENERGY.” One of my favorite artists, BEAM, is featured on that song, and Bey put me right in the front with her with my brothers \u003ca href=\"https://www.instagram.com/rob_bynes/?hl=en\">Rob Bynes\u003c/a>, \u003ca href=\"https://www.instagram.com/zavionxbrown/?hl=en\">Zavion Brown\u003c/a> and \u003ca href=\"https://www.instagram.com/justcreativelab/?hl=en\">Justin “Jus’t” Chase\u003c/a>. That was the one where I feel like we all just connected and had that crazy energy. I’m a krumper, so I’m a theme for “ENERGY,” you know? That was by far my favorite part.\u003c/p>\n\u003cfigure id=\"attachment_13940048\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940048\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg\" alt=\"Konkrete strikes a pose wearing a pink mesh top with crystals. \" width=\"2400\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20230618_RWT_Amsterdam_White__W2_7186-1920x1280.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Amsterdam, Netherlands in June 2023. \u003ccite>(Andrew White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is that your favorite Beyoncé song?\u003c/strong>\u003c/p>\n\u003cp>Every time I pick one song, another song pops up. Like her new song right now, the one that she just dropped. It’s called “\u003ca href=\"https://www.youtube.com/watch?v=hAsDiZn61Wo\">MY HOUSE\u003c/a>,” and it’s my current favorite. I was like, “Oh, she’s still dropping music.” She’s always setting the tone. And I’m blessed to be a part of her era.\u003c/p>\n\u003cp>\u003cstrong>What’s the reaction been since the film was released? Have people that recognized you or your tattoo been reaching out to you?\u003c/strong>\u003c/p>\n\u003cp>Oh, for sure. The City of Sacramento has been posting me on social media, and a lot of folks from Oakland noticed the tree. I get a lot of hits from family back home in Oakland. They’re just letting me know how proud they are and how inspired they are because I’m from the same soil. I just want to let my people know out there that the Bay Area kids shine in the industry. Two of the people that shine to me are \u003ca href=\"https://www.richandtoneproductions.com/\">Rich and Tone Talauega\u003c/a>; they came out of the Bay and they’ve danced with Michael Jackson for years. There’s something special about us — it’s no tea, no shade. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How would you describe this tour and what it meant to you on a personal level?\u003c/strong>\u003c/p>\n\u003cp>I think the dopest thing that I pulled from this tour was the family aspect of Beyoncé. She got her family in there — it’s a family business. It makes me want to get together with my family and collaborate. We’re already close. This tour gave me the vision, it cleared everything up for me.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Konkrete?\u003c/strong>\u003c/p>\n\u003cp>I actually want to take my career and put it in another country, just to see what it will do. Right now, people from other countries that may not be African American are inspired by the culture. That’s what I believe. I want to go down to these places, like South Korea, and actually inspire them to continue to do what they’re doing, because \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a> was never meant to be gatekept. I want to collaborate with different cultures and learn about them, and share my gift with them.\u003c/p>\n\u003cp>And, of course, I want to push more music out. That’s just a gimme, man, I push music out with or without money. It’s just a love for it.\u003c/p>\n\u003cfigure id=\"attachment_13940044\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg\" alt=\"A dancer with bleached hair folds his arms o0n stage while wearing a silver top and red pants.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Konkrete-LasVegas-069-1920x2879.jpeg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Konkrete performs with Beyoncé in Las Vegas in August 2023. \u003ccite>(Courtesy of Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Last but certainly not least, what are your favorite spots in Oakland that you must visit when you’re here?\u003c/strong>\u003c/p>\n\u003cp>When I’m in the Bay, I think I always go to the spots where I went as a kid, places where I made good memories. I know Lucky Three Seven in Fruitvale, that’s where I have to go first. Jack London Square of course, because I’m a hipster. My grandmother used to live in Emeryville, so I’d go there. I go to Lake Merritt and Mosswood Park — I used to play ball with my dad at Mosswood when I was little. Orbit Coffee downtown goes crazy. Oakland is just home for me. I want to retire in Oakland, to be honest. I want to be in the Town when I’m old.\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>\u003cem>‘Renaissance: A Film by Beyoncé’ screens at select AMC locations in the Bay Area. In San Francisco, \u003ca href=\"https://apeconcerts.com/events/renaissance-beyonce-240126/\">The Castro Theatre\u003c/a> will host a screening Saturday, Jan. 6, at 8 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon",
"title": "How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023",
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"headTitle": "How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED",
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"content": "\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>[aside postid='arts_13935703']There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>[aside postid='arts_13939278']By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A documentary chronicling \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé’s just-concluded 39-city Renaissance World Tour\u003c/a> will premiere in North American theaters Dec. 1, AMC Theaters announced Monday.\u003c/p>\n\u003cp>[aside postid='arts_13934081']The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of five months, some 2.7 million concertgoers attended. The tour has grossed close to $500 million, according to Billboard.\u003c/p>\n\u003cp>[aside postid='arts_13934154']“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” reads the film’s description.\u003c/p>\n\u003cp>Beyonce released a trailer on her Instagram account with the message: “Be careful what you ask for, ’cause I just might comply.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx4pAjsuZjr/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film adds a second blockbuster from a music superstar to a fall slate of movies that’s been slightly thinned out by the ongoing screen actors’ strike. Like \u003cem>Taylor Swift: The Eras Tour\u003c/em>, which debuts Oct. 13, \u003cem>Renaissance: A Film By Beyoncé\u003c/em> is being released directly by AMC, the movie theater chain, without studio involvement.\u003c/p>\n\u003cp>Tickets will start at $22 plus tax. The film will run for a minimum of four weeks, AMC said.\u003c/p>\n\u003cp>Beyoncé’s previous films include the acclaimed 2019 Netflix film \u003cem>Homecoming\u003c/em>, which captured her Coachella performance in 2018. In the deals with AMC, Beyoncé and Swift are both reported to be receiving at least 50% of ticket sales.\u003c/p>\n\u003cp>The film charts Beyoncé’s tour on behalf of her 2022 Grammy-winning album \u003cem>Renaissance\u003c/em>. It mixes concert footage and elements of a visual album while trailing the tour from its launch in Stockholm, Sweden, in May to the finale Sunday night in Kansas City, Missouri.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé Dazzles With a Sparkling Homage to Black Queer Culture at Levi's Stadium",
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"content": "\u003cp>At her first world tour in 2007, a 26 year-old Beyoncé Knowles asked the audience, “Are you ready to be entertained?” \u003c/p>\n\u003cp>A decade and a half later, at the first California stop of her blockbuster Renaissance World Tour last night, Mrs. Knowles-Carter came ready not just to entertain but to claim her throne. In a two-and-a-half-hour tsunami of songs, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> commanded the \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">sold-out audience\u003c/a> of 50,000 at Levi’s Stadium in Santa Clara, leaning heavily into the Black queer music and culture from the metallic world of her latest album, \u003cem>Renaissance\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13934115\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-scaled.jpg\" alt=\"A Black woman with long hair wisping in the air in black and white outfit is surrounded by dancers on a stage\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13934115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rising up out of the floor in a black Marc Jacobs miniskirt and platform boots, Beyoncé greeted a screaming stadium of silver-clad fans with five simple words: “Bay Area… I love you.” \u003c/p>\n\u003cp>Across an opening six-song block of mostly ballads, Queen Bey delivered a reminder that her vocals are still the foundation of her artistry, perching on a silver grand piano to serve an intimate “1+1.” \u003c/p>\n\u003cp>[aside postID='arts_13934081']Beyoncé then plugged into the computerized world of \u003cem>Renaissance\u003c/em> proper. Stepping out in a chrome bodysuit, the pop icon launched into “I’m That Girl,” “Cozy,” and “Alien Superstar,” the hyper-confident first tracks of her seventh studio album. She led her troupe of dancers and live band with the precision of a champion at the top of her game. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dazzling projections on screen played with the concept of Beyoncé as a cyborg during the first hour, a tongue-in-cheek response to the criticisms that have followed the singer throughout her entire career: that she’s not “human” enough in her pursuit of perfection. As she deadpanned and pop-locked to the “Alien Superstar” lyrics, “I’m one of one / I’m number one / I’m the only one,” she challenged us to reconsider our expectations. \u003c/p>\n\u003cfigure id=\"attachment_13934109\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-scaled.jpg\" alt=\"A Black woman in red headpiece and black dress and tall black boots sings at a microphone\" width=\"1708\" height=\"2560\" class=\"size-full wp-image-13934109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Beyoncé paid homage to Black queer music and culture that inspired her \u003cem>Renaissance\u003c/em> era: the voice of ballroom icon Kevin JZ Prodigy was ever-present, and dancers vogued during the mini ball that unfolded for “Pure/Honey.” The tour marked another acknowledgement of the Ballroom community in mainstream American culture, following the success of shows like FX’s \u003cem>Pose\u003c/em> and HBO’s \u003cem>Legendary\u003c/em>. \u003c/p>\n\u003cp>Beyoncé sprinkled musical nods to this community throughout the night like little love letters. To many, the flairs of First Choice’s “\u003ca href=\"https://www.youtube.com/watch?v=_VwtCutti94\">Let No Man Put Asunder\u003c/a>,” or the strains of Diana Ross’ “\u003ca href=\"https://www.youtube.com/watch?v=Y9-7rcKxIc8\">Love Hangover\u003c/a>” (expertly delivered in four-part harmony by background vocalists Tiffany Ryan, Karyn Porter, Natalie Imani and Tayler Green), might have just seemed like mere interludes. But to those in the ballroom scene, these tracks feel just as warm and familiar as “Crazy in Love” or “Get Me Bodied.” \u003c/p>\n\u003cfigure id=\"attachment_13934112\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-scaled.jpg\" alt=\"A Black woman in black and white outfit is surrounded by dancers on a glittery stage set\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13934112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the stadium’s size, Beyoncé cultivated genuine moments of connection with the crowd: She invited attendees to sing the key changes in “Love On Top” a capella, and reveled in the sounds of paper and plastic shifting when the audience pulled out their fans for “Heated.” If she would have asked us to pick Levi’s Stadium up and move it six feet to the left, we would have found a way.\u003c/p>\n\u003cp>[aside postID='arts_13914457']Such is the reward for an artist who has spent the past 25 years cultivating a fanbase that transcends the hard lines that the United States draws across race, class, gender and age. There was satisfaction in looking at a stranger and silently agreeing to take “Love on Top” up another half step, or noticing someone else also doing the iconic shoulder shuffle to “Diva.”\u003c/p>\n\u003cp>One of the night’s most electric moments came when Beyoncé introduced her 11-year-old daughter Blue Ivy Carter. Donning an orange and blue jersey with the Roman numerals “IV,” the protégé performed “My Power” and “Black Parade” alongside her mother under a Super Blue Moon, a rare celestial occurrence that won’t cross the sky again for another 14 years. Considering the rare skill required to lead an entire ensemble of trained dancers on a world tour before turning 12, it seemed fitting that Beyoncé would tell us to “give it up for Blue Ivy, a.k.a. Blue Moon.”\u003c/p>\n\u003cfigure id=\"attachment_13934113\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-scaled.jpg\" alt=\"A Black woman in red headpiece and black dress and tall black boots sings surrounded by a band in glittery outfits beneath stage lights\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13934113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 16-year-olds experiencing their Beyoncé baptism to sisters who traveled from across the country, the Beyhive made the concert into a full experience — celebrating the opulent and the divine diva that lives in us all, and supporting those whose identities put us at risk for violence. These are not far from the tenets of ballroom culture, and it’s what makes the Renaissance World Tour an occasion far beyond a concert. \u003c/p>\n\u003cp>It was a defiant, joyful release of personal and collective trauma, giving us all the chance to feel like a chromed-out Cinderella for the night. At the end of the show, soaring above the crowd on silver chrome disco horse that fans have jokingly named “Reneigh,” Mrs. Knowles-Carter said that she’ll “never forget tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rest assured her Bay Area audience won’t either. \u003c/p>\n\n",
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"description": "In Santa Clara, Beyoncé leaned heavily into the Black queer music and culture from the metallic world of her latest album, 'Renaissance.'",
"title": "Review: Beyoncé Dazzles at Levi's Stadium With a Sparkling Homage to Black Queer Culture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At her first world tour in 2007, a 26 year-old Beyoncé Knowles asked the audience, “Are you ready to be entertained?” \u003c/p>\n\u003cp>A decade and a half later, at the first California stop of her blockbuster Renaissance World Tour last night, Mrs. Knowles-Carter came ready not just to entertain but to claim her throne. In a two-and-a-half-hour tsunami of songs, \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> commanded the \u003ca href=\"https://www.kqed.org/arts/13934081/beyonce-renaissance-levis-stadium-photos-fashion\">sold-out audience\u003c/a> of 50,000 at Levi’s Stadium in Santa Clara, leaning heavily into the Black queer music and culture from the metallic world of her latest album, \u003cem>Renaissance\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13934115\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-scaled.jpg\" alt=\"A Black woman with long hair wisping in the air in black and white outfit is surrounded by dancers on a stage\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13934115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1408_V1_MG-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rising up out of the floor in a black Marc Jacobs miniskirt and platform boots, Beyoncé greeted a screaming stadium of silver-clad fans with five simple words: “Bay Area… I love you.” \u003c/p>\n\u003cp>Across an opening six-song block of mostly ballads, Queen Bey delivered a reminder that her vocals are still the foundation of her artistry, perching on a silver grand piano to serve an intimate “1+1.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé then plugged into the computerized world of \u003cem>Renaissance\u003c/em> proper. Stepping out in a chrome bodysuit, the pop icon launched into “I’m That Girl,” “Cozy,” and “Alien Superstar,” the hyper-confident first tracks of her seventh studio album. She led her troupe of dancers and live band with the precision of a champion at the top of her game. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dazzling projections on screen played with the concept of Beyoncé as a cyborg during the first hour, a tongue-in-cheek response to the criticisms that have followed the singer throughout her entire career: that she’s not “human” enough in her pursuit of perfection. As she deadpanned and pop-locked to the “Alien Superstar” lyrics, “I’m one of one / I’m number one / I’m the only one,” she challenged us to reconsider our expectations. \u003c/p>\n\u003cfigure id=\"attachment_13934109\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-scaled.jpg\" alt=\"A Black woman in red headpiece and black dress and tall black boots sings at a microphone\" width=\"1708\" height=\"2560\" class=\"size-full wp-image-13934109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_0441_V2_LG-1-1920x2878.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Beyoncé paid homage to Black queer music and culture that inspired her \u003cem>Renaissance\u003c/em> era: the voice of ballroom icon Kevin JZ Prodigy was ever-present, and dancers vogued during the mini ball that unfolded for “Pure/Honey.” The tour marked another acknowledgement of the Ballroom community in mainstream American culture, following the success of shows like FX’s \u003cem>Pose\u003c/em> and HBO’s \u003cem>Legendary\u003c/em>. \u003c/p>\n\u003cp>Beyoncé sprinkled musical nods to this community throughout the night like little love letters. To many, the flairs of First Choice’s “\u003ca href=\"https://www.youtube.com/watch?v=_VwtCutti94\">Let No Man Put Asunder\u003c/a>,” or the strains of Diana Ross’ “\u003ca href=\"https://www.youtube.com/watch?v=Y9-7rcKxIc8\">Love Hangover\u003c/a>” (expertly delivered in four-part harmony by background vocalists Tiffany Ryan, Karyn Porter, Natalie Imani and Tayler Green), might have just seemed like mere interludes. But to those in the ballroom scene, these tracks feel just as warm and familiar as “Crazy in Love” or “Get Me Bodied.” \u003c/p>\n\u003cfigure id=\"attachment_13934112\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-scaled.jpg\" alt=\"A Black woman in black and white outfit is surrounded by dancers on a glittery stage set\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13934112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Dakdouk_JD1_1212_V1_TP-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the stadium’s size, Beyoncé cultivated genuine moments of connection with the crowd: She invited attendees to sing the key changes in “Love On Top” a capella, and reveled in the sounds of paper and plastic shifting when the audience pulled out their fans for “Heated.” If she would have asked us to pick Levi’s Stadium up and move it six feet to the left, we would have found a way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Such is the reward for an artist who has spent the past 25 years cultivating a fanbase that transcends the hard lines that the United States draws across race, class, gender and age. There was satisfaction in looking at a stranger and silently agreeing to take “Love on Top” up another half step, or noticing someone else also doing the iconic shoulder shuffle to “Diva.”\u003c/p>\n\u003cp>One of the night’s most electric moments came when Beyoncé introduced her 11-year-old daughter Blue Ivy Carter. Donning an orange and blue jersey with the Roman numerals “IV,” the protégé performed “My Power” and “Black Parade” alongside her mother under a Super Blue Moon, a rare celestial occurrence that won’t cross the sky again for another 14 years. Considering the rare skill required to lead an entire ensemble of trained dancers on a world tour before turning 12, it seemed fitting that Beyoncé would tell us to “give it up for Blue Ivy, a.k.a. Blue Moon.”\u003c/p>\n\u003cfigure id=\"attachment_13934113\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-scaled.jpg\" alt=\"A Black woman in red headpiece and black dress and tall black boots sings surrounded by a band in glittery outfits beneath stage lights\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13934113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/20230830_RWT_SantaClara_Caldwell_BC1_5670_V1_PB-1-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs at Levi’s Stadium on Aug. 30, 2023, as part of the Renaissance World Tour. \u003ccite>(Julian Dakdouk/Parkwood Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 16-year-olds experiencing their Beyoncé baptism to sisters who traveled from across the country, the Beyhive made the concert into a full experience — celebrating the opulent and the divine diva that lives in us all, and supporting those whose identities put us at risk for violence. These are not far from the tenets of ballroom culture, and it’s what makes the Renaissance World Tour an occasion far beyond a concert. \u003c/p>\n\u003cp>It was a defiant, joyful release of personal and collective trauma, giving us all the chance to feel like a chromed-out Cinderella for the night. At the end of the show, soaring above the crowd on silver chrome disco horse that fans have jokingly named “Reneigh,” Mrs. Knowles-Carter said that she’ll “never forget tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rest assured her Bay Area audience won’t either. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyonce-renaissance-levis-stadium-photos-fashion",
"title": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion",
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"headTitle": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion | KQED",
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"content": "\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>[aside postID='arts_13934154']Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"title": "Beyoncé’s Fans at Levi’s Stadium Wear Their Best Silver Fashion | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>[aside postid='arts_13924636']#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>[aside postid='arts_13931892']The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\n\u003cp>https://twitter.com/TheSwiftSociety/status/1686886319832616960\u003c/p>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>[aside postid='arts_13931981']Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\n\u003cp>https://twitter.com/BuzzingPop/status/1687670252501368832\u003c/p>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\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.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed",
"headTitle": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed | KQED",
"content": "\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\n\u003cp>https://www.instagram.com/p/CoHxOQhrTHX/\u003c/p>\n\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>[aside postid='arts_13921777']\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\n\u003cp>https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\u003c/p>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>[aside postid='arts_13861791']Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>[aside postid='arts_13841293']There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\n\u003cp>https://twitter.com/CorbinReiff/status/1620834530889449472\u003c/p>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Where Did All the Key Changes Go?",
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"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
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"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\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 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "That Wasn't Beyoncé at the U.S. Open—It was Laverne Cox, and She's Flattered",
"headTitle": "That Wasn’t Beyoncé at the U.S. Open—It was Laverne Cox, and She’s Flattered | KQED",
"content": "\u003cp>Tennis legend Serena Williams drew a star-studded set of spectators to her first-round U.S. Open match—and possibly \u003ca href=\"https://www.npr.org/2022/08/30/1120023719/serena-williams-has-left-an-indelible-mark-on-tennis\" target=\"_blank\" rel=\"noopener noreferrer\">last pro tournament\u003c/a>—on Sunday night, from former president Bill Clinton and actress Queen Latifah to tennis star Coco Gauff and \u003cem>Vogue\u003c/em> editor Anna Wintour.\u003c/p>\n\u003cp>So it wouldn’t have been a total stretch to spot her friend Beyoncé—who narrated \u003ca href=\"https://twitter.com/parkwood/status/1564336120636223489?s=20&t=JjIX7qM_u0eSGc6cdJhIJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a new Gatorade commercial\u003c/a> honoring Williams’ legacy—in the stands too. In fact, some watching at home thought they did.\u003c/p>\n\u003cp>“#Beyonce at the #USOpen,” tweeted \u003ca href=\"https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">the account @Choni\u003c/a>, alongside a video of a Black woman in hoop earrings and a face mask reacting with the crowd.\u003c/p>\n\u003cp>https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\u003c/p>\n\u003cp>Only Queen Bey it was not. As fans pointed out—and the original poster quickly clarified—the video actually showed Laverne Cox, the actress, Emmy Award-winning producer and LGTBQ advocate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cox seemed amused by the mix-up and ensuing reaction, even reposting the video \u003ca href=\"https://www.instagram.com/p/Ch3iVaxOCEz/?hl=en\">on her Instagram account\u003c/a>.\u003c/p>\n\u003cp>“Not me getting mistaken for \u003ca href=\"https://www.instagram.com/Beyonce/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Beyonce\u003c/a> at the #USOpen tonight then trending on Twitter as the internet cackles over the mistaken identity,” she wrote. “These tweets are funny as hell. Enjoy!!!”\u003c/p>\n\u003cp>https://www.instagram.com/p/Ch3iVaxOCEz/\u003c/p>\n\u003cp>Instances of misidentification are often not funny. They overwhelmingly \u003ca href=\"https://www.npr.org/2022/04/13/1092687268/ali-wongs-divorce-news-causes-another-case-of-wrongasian\" target=\"_blank\" rel=\"noopener noreferrer\">plague people of color\u003c/a> in the workplace and in the media, including some recent high-profile cases—one of which involved Williams herself.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> mistakenly ran a photo of her sister Venus next to a story about her venture firm raising $111 million earlier this year, prompting Williams to share that she was working to support founders overlooked by biased systems “because even I am overlooked.”\u003c/p>\n\u003cp>https://twitter.com/serenawilliams/status/1499058086165639169?s=20&t=ASZeGpmWeszL04QHz0xNsA\u003c/p>\n\u003cp>This particular mistake was better received. Cox didn’t just seem to take it in stride but as a compliment.\u003c/p>\n\u003cp>Notably, Cox has made no secret of her admiration for the pop star. Just hours earlier, in fact, she had \u003ca href=\"https://www.instagram.com/p/Ch28eF9AvOn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">shared a video of herself\u003c/a> getting ready for the U.S. Open with a Beyoncé song playing in the background. She’s also impersonated Beyoncé in the past—albeit more intentionally—in a memorable Lip Sync Battle performance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ComnkXaoMns\u003c/p>\n\u003cp>“Everybody knows that I live for Beyoncé,” she \u003ca href=\"https://www.etonline.com/media/videos/why-laverne-cox-chose-promising-young-woman-over-presenting-an-award-to-beyonce-158322\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Entertainment Tonight\u003c/em>\u003c/a> in 2020. “I try not to worship gods on earth, or goddesses, but I worship Beyoncé.”\u003c/p>\n\u003cp>Many fans shared in that appreciation online, tweeting about how flattered Cox must be. Some even said that they saw the resemblance, too.\u003c/p>\n\u003cp>https://twitter.com/ThereGoesBJ/status/1564420920831365120\u003c/p>\n\u003cp>Choni, who first shared the video, \u003ca href=\"https://twitter.com/Choni_/status/1564436776898334720?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">later wrote\u003c/a> that they were starting to think the mix-up might “actually be ok,” but would give it 24 hours to see. So far, that seems to be the case.\u003c/p>\n\u003cp>[aside postid='arts_13911935']Sports and culture writer David Dennis, Jr. was one of the people who seemed to think so. He called Cox the second biggest winner of the night (after Williams, of course, who defeated Danka Kovinic 6-3, 6-3).\u003c/p>\n\u003cp>“Laverne Cox … was mistaken for Beyoncé all night,” \u003ca href=\"https://twitter.com/DavidDTSS/status/1564426562191216641?s=20&t=23JWSKAUxqzyliCgKZZixQ\" target=\"_blank\" rel=\"noopener noreferrer\">he tweeted\u003c/a>. “Which is a career highlight for literally anyone.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Absolutely!” \u003ca href=\"https://twitter.com/Lavernecox/status/1564428839505338368?s=20&t=asuQsc1iA9RL7dB1AiFPKw\" target=\"_blank\" rel=\"noopener noreferrer\">Cox agreed\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No%2C+that+wasn%27t+Beyonc%C3%A9+at+the+U.S.+Open.+It+was+Laverne+Cox%2C+and+she%27s+flattered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Cox, who \"worships\" the singer, took it in stride despite the frequency with which this happens to the BIPOC community. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennis legend Serena Williams drew a star-studded set of spectators to her first-round U.S. Open match—and possibly \u003ca href=\"https://www.npr.org/2022/08/30/1120023719/serena-williams-has-left-an-indelible-mark-on-tennis\" target=\"_blank\" rel=\"noopener noreferrer\">last pro tournament\u003c/a>—on Sunday night, from former president Bill Clinton and actress Queen Latifah to tennis star Coco Gauff and \u003cem>Vogue\u003c/em> editor Anna Wintour.\u003c/p>\n\u003cp>So it wouldn’t have been a total stretch to spot her friend Beyoncé—who narrated \u003ca href=\"https://twitter.com/parkwood/status/1564336120636223489?s=20&t=JjIX7qM_u0eSGc6cdJhIJQ\" target=\"_blank\" rel=\"noopener noreferrer\">a new Gatorade commercial\u003c/a> honoring Williams’ legacy—in the stands too. In fact, some watching at home thought they did.\u003c/p>\n\u003cp>“#Beyonce at the #USOpen,” tweeted \u003ca href=\"https://twitter.com/Choni_/status/1564398225099853826?s=20&t=xMmYAkzaUYxFZyNVflxFaQ\" target=\"_blank\" rel=\"noopener noreferrer\">the account @Choni\u003c/a>, alongside a video of a Black woman in hoop earrings and a face mask reacting with the crowd.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Only Queen Bey it was not. As fans pointed out—and the original poster quickly clarified—the video actually showed Laverne Cox, the actress, Emmy Award-winning producer and LGTBQ advocate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cox seemed amused by the mix-up and ensuing reaction, even reposting the video \u003ca href=\"https://www.instagram.com/p/Ch3iVaxOCEz/?hl=en\">on her Instagram account\u003c/a>.\u003c/p>\n\u003cp>“Not me getting mistaken for \u003ca href=\"https://www.instagram.com/Beyonce/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@Beyonce\u003c/a> at the #USOpen tonight then trending on Twitter as the internet cackles over the mistaken identity,” she wrote. “These tweets are funny as hell. Enjoy!!!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instances of misidentification are often not funny. They overwhelmingly \u003ca href=\"https://www.npr.org/2022/04/13/1092687268/ali-wongs-divorce-news-causes-another-case-of-wrongasian\" target=\"_blank\" rel=\"noopener noreferrer\">plague people of color\u003c/a> in the workplace and in the media, including some recent high-profile cases—one of which involved Williams herself.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> mistakenly ran a photo of her sister Venus next to a story about her venture firm raising $111 million earlier this year, prompting Williams to share that she was working to support founders overlooked by biased systems “because even I am overlooked.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This particular mistake was better received. Cox didn’t just seem to take it in stride but as a compliment.\u003c/p>\n\u003cp>Notably, Cox has made no secret of her admiration for the pop star. Just hours earlier, in fact, she had \u003ca href=\"https://www.instagram.com/p/Ch28eF9AvOn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">shared a video of herself\u003c/a> getting ready for the U.S. Open with a Beyoncé song playing in the background. She’s also impersonated Beyoncé in the past—albeit more intentionally—in a memorable Lip Sync Battle performance.\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/ComnkXaoMns'\n title='//www.youtube.com/embed/ComnkXaoMns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Everybody knows that I live for Beyoncé,” she \u003ca href=\"https://www.etonline.com/media/videos/why-laverne-cox-chose-promising-young-woman-over-presenting-an-award-to-beyonce-158322\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>Entertainment Tonight\u003c/em>\u003c/a> in 2020. “I try not to worship gods on earth, or goddesses, but I worship Beyoncé.”\u003c/p>\n\u003cp>Many fans shared in that appreciation online, tweeting about how flattered Cox must be. Some even said that they saw the resemblance, too.\u003c/p>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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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": {
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"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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