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You can find them below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>“Toni Morrison was a national treasure. Her writing was not just beautiful but meaningful—a challenge to our conscience and a call to greater empathy. She was as good a storyteller, as captivating, in person as she was on the page. And so even as Michelle and I mourn her loss and send our warmest sympathies to her family and friends, we know that her stories—that our stories—will always be with us, and with those who come after, and on and on, for all time.” — former President Barack Obama, via Twitter.\u003c/p>\n\u003cp>“‘If you surrender to the air, you can ride it.’ Rest in paradise.” — Beyoncé, on her website.\u003c/p>\n\u003cp>“The passing of Toni Morrison is a mandate to all others in the field to fulfill the high calling that her work and her life demonstrated. Her words, her wisdom, her undying love and commitment to her people are forever engraved in the pages of history, but her artistic, remarkable literary voice will be deeply missed.” — Rep. John Lewis, in a statement.\u003c/p>\n\u003cp>“RIP Toni Morrison. This is a devastating loss to the world of words, to our understanding of power and its reach, to the cultivation of empathy, to rich, nuanced, elegant storytelling. Her work was a gift to everyone who had the pleasure of reading her.” — Roxane Gay, via Twitter.\u003c/p>\n\u003cp>“Today, the world lost a storyteller of unmatched empathy, elegance and power. Toni Morrison’s belief that language is the “measure of our lives” leaves an extraordinary, inspiring inheritance, and her beautiful writing will continue to be a blessing for generations to come.” — House Speaker Nancy Pelosi, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was a towering intellect, a brilliant scribe of our nation’s complex stories, a heartbreaking journalist of our deepest desires, and a groundbreaking author who destroyed precepts, walls and those who dared underestimate her capacity. Rest well and in peace.” — former Georgia Democratic gubernatorial candidate Stacey Abrams, via Twitter.\u003c/p>\n\u003cp>“She was the best of us: our strength, our hope, and most importantly, our history. I grieve her passing though I know she will never, ever be gone.” — Walter Mosley, via Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13863129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863129\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg\" alt=\"Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521-1020x703.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-145423521.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Novelist Toni Morrison and U.S. President Barack Obama share a moment after she was presented with a Presidential Medal of Freedom. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the passing of Toni Morrison, we lost one of our greatest voices & storytellers. Holding close those touched by her being & her gift. Her work gave us power, hope & freedom. While our world shines a little less bright today, we know “something that is loved is never lost.” — U.S. Sen. Kamala Harris, via Twitter.\u003c/p>\n\u003cp>“My heart hurts. Her greatness was absolute. Her words changed worlds. Her work always belonged to the immortal, and her name will never be forgotten.” — author Elizabeth Gilbert, via Facebook.\u003c/p>\n\u003cp>“‘We die. That may be the meaning of life. But we do language. That may be the measure of our lives.’ Holding all those touched by Toni Morrison in my heart today.” — U.S. Rep. Ilhan Omar, via Twitter.\u003c/p>\n\u003cp>“Genius has moved on. She made me understand “writer” was a fine profession. I grew up wanting to be only her. Dinner with her was a night I will never forget. Rest, Queen.” — Shonda Rhimes, via Twitter.\u003c/p>\n\u003cp>“Aw man Toni Morrison taught me the word Rememory. RIP to a incredibly powerful and impactful woman.” — Chance the Rapper, via Twitter.\u003c/p>\n\u003cp>“Oh, no. So deeply saddened. Thank you for everything, Ms. Morrison.” — Celeste Ng, via Twitter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t8pDyXX1rf0\u003c/p>\n\u003cp>“‘If you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else.’ — Toni Morrison. Today we lost an American legend. May she rest in peace.” — U.S. Sen. Bernie Sanders, via Twitter.\u003c/p>\n\u003cp>“Toni Morrison was the first African-American woman to win a Nobel Prize. May she rest in power. #RememberHerName” — Billie Jean King, via Twitter.\u003c/p>\n\u003cp>“Her words were like mirrors to our collective souls. Like pillows to cushion the blows. Like mothers to wrap us in love. Like friends to hold our hands and see us through the darkness. #RipToniMorrison (heart) you. 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"content": "\u003cp>NEW YORK (AP) — Beyoncé’s “Homecoming” film has scored six Emmy nominations, while documentaries on Michael Jackson, R. Kelly and the disastrous Fyre Festival also picked up nominations.\u003c/p>\n\u003cp>With Netflix’s “Homecoming: A Film by Beyoncé,” the pop star personally earned four of the six nominations Tuesday, including bids for producing, writing, co-directing and musical direction. In the outstanding variety special (pre-recorded) category, “Homecoming” will compete with “Springsteen on Broadway.”\u003c/p>\n\u003cp>“Homecoming” also earned nominations for costumes and production design.\u003c/p>\n\u003cp>HBO’s “Leaving Neverland,” a documentary where two men accused Jackson of molesting them as boys that sparked new scrutiny of years-old claims that the King of Pop preyed on children, earned five nominations, including outstanding documentary or nonfiction special (Jackson’s estate denied the allegations and Jackson long maintained his innocence when he was alive).\u003c/p>\n\u003cp>Lifetime’s “Surviving R. Kelly,” which looks at the R&B singer’s history and allegations that he has sexually abused women and girls, picked up a single nomination for outstanding informational series or special. Kelly, who was acquitted of child pornography charges in 2008, was hit with new criminal charges on the federal and state level following the airing of the docuseries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix’s “FYRE: The Greatest Party That Never Happened” followed the highly publicized and famously failed music bash in the Bahamas and received four nominations. Another documentary on the doomed festival called “Fyre Fraud,” which aired on Hulu, is nominated for outstanding writing for a nonfiction program, where Showtime’s “Wu-Tang Clan: Of Mics And Men” also earned a nomination.\u003c/p>\n\u003cp>“Aretha! A Grammy Celebration For The Queen of Soul,” which aired on CBS and featured Patti LaBelle, John Legend and others honoring the late legend, picked up two nominations.\u003c/p>\n\u003cp>Sara Bareilles — who has been nominated for multiple Grammys and Tonys and earned up her first Emmy nomination last year — shares a nomination this year for outstanding original music and lyrics with Josh Groban for their work on the 72nd annual Tony Awards. Mega-producer T Bone Burnett, who produced Bareilles’ latest album, scored a nomination for his musical score of HBO’s “True Detective.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Beyoncé, who has 23 Grammys, earned Emmy nominations in the past for her “Lemonade” visual project, her Super Bowl halftime show performance and her “On the Run” tour with Jay-Z. Her nominations this year include outstanding directing for a variety special, outstanding writing for a variety special and outstanding music direction. In the outstanding variety special (pre-recorded) category, she is nominated as an executive producer of “Homecoming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mere days after Coachella 2019—where the specter of Beyoncé’s grand performance last year loomed large—she premiered \u003cem>Homecoming: A Beyoncé Film\u003c/em> on Netflix today, as expected. [aside postid='forum_2010101870195']\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Last weekend at the \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a27003864/beyonce-omari-hardwick-naacp-awards-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">NAACP Image Awards\u003c/a>, actor Omari Hardwick made headlines for the wrong reasons: invading Beyoncé’s space. Hardwick came over to greet Beyoncé and Jay-Z, and planted a kiss on Beyoncé’s cheek. Then, he doubled back and planted another kiss, this time uncomfortably close to Bey’s mouth. Her face twisted into a subtle cringe.\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1112450401368977408\u003c/p>\n\u003cp>Just days before, the 2014 nominee for Nevada lieutenant governor, Lucy Flores, published a \u003ca href=\"https://www.thecut.com/2019/03/an-awkward-kiss-changed-how-i-saw-joe-biden.html\" target=\"_blank\" rel=\"noopener noreferrer\">viral essay\u003c/a> about an uncomfortable, similar incident that happened during her campaign. Moments before she took the stage at a speaking engagement, then-vice president Joe Biden—there to endorse her as a candidate—planted a “big, slow kiss” on the back of her head and “inhaled” her hair.\u003c/p>\n\u003cp>“He was there to promote me as the right person for the lieutenant governor job,” she wrote. “Instead, he made me feel uneasy, gross and confused. The vice president of the United States of America had just touched me in an intimate way reserved for close friends, family or romantic partners—and I felt powerless to do anything about it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote]It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.[/pullquote]\u003c/span>\u003c/p>\n\u003cp>After Flores’ essay ran, numerous \u003ca href=\"http://nymag.com/intelligencer/2015/02/9-times-joe-biden-whispered-in-womens-ears.html?gtm=top\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a> of Biden nuzzling, kissing and hugging women and girls from behind at public events resurfaced, stirring up debates about whether his “\u003ca href=\"https://theweek.com/articles/737749/creepy-uncle-joe-biden-2020\" target=\"_blank\" rel=\"noopener noreferrer\">creepy uncle\u003c/a>” vibe would hinder his viability as a presidential candidate. Like clockwork, Biden’s supporters accused Flores of attempting to sabotage his possible run. And like clockwork, Biden responded in a statement, denying wrongdoing. “Not once—never—did I believe I acted inappropriately. If it is suggested I did so, I will listen respectfully,” his statement reads. “But it was never my intention.”\u003c/p>\n\u003cfigure id=\"attachment_13854169\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg\" alt=\"Joe Biden whispers in Christine Carter's ear in 2015.\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467-160x107.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Joe Biden whispers in Stephanie Carter’s ear in 2015. \u003ccite>(Photo: Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard not to notice the parallels between Biden and Hardwick’s behavior. Both incidents may not have been invasive enough to rise to the level of sexual assault, and no one’s pressing charges here—Beyoncé hasn’t commented, and Flores says Biden didn’t do anything illegal—but this banal form of creepiness, subtle enough to give the offending party plausible deniability, is just one of the world’s many ways of signaling that women don’t have complete control over what happens to our bodies. It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label='More on Biden' link1=\"https://www.npr.org/2019/04/01/708667603/joe-biden-responds-to-allegations-of-inappropritate-behavior,NPR: Joe Biden Responds\" link2=\"https://medium.com/@scarterdc/the-metoo-story-that-wasnt-me-6c1d5eb1e94d,Stephanie Carter: The #MeToo Story That Wasn't Me\" target=_blank]\u003c/p>\n\u003cp>For women, these small invasions of personal space are a constant of everyday life, and figuring out quiet ways to duck and dodge them is taxing. There’s the acquaintance who holds what was supposed to be a quick hug hello for way too long, leaving us trapped and wondering how to get out of their embrace without “making it weird.” There are the men who “accidentally” rub up against us on public transit; the ones who squeeze past us in crowded rooms while touching the smalls of our backs; the ones who linger watching us at the gym.\u003c/p>\n\u003cp>This behavior is nothing new, but times are changing. When Adrien Brody surprise-kissed Halle Berry at the Oscars 11 years ago, it was widely celebrated as a magical awards-show moment. (Berry has said that she “\u003ca href=\"https://www.usmagazine.com/entertainment/news/halle-berry-recalls-that-adrien-brody-oscar-kiss-w496090/\" target=\"_blank\" rel=\"noopener noreferrer\">doesn’t know\u003c/a>” if she enjoyed it.) The public’s response was decidedly different a decade later, when a \u003ca href=\"https://www.nytimes.com/2018/09/01/arts/music/ariana-grande-funeral-groping-bishop-ellis.html\" target=\"_blank\" rel=\"noopener noreferrer\">pastor\u003c/a> put his hand a \u003cem>little\u003c/em> too close to Ariana Grande’s breast at Aretha Franklin’s funeral, or when actress \u003ca href=\"https://www.independent.co.uk/voices/adam-sandler-claire-foy-graham-norton-show-hand-knee-inappropriate-everyday-sexism-a8027086.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Foy\u003c/a> deflected Adam Sandler’s hand on her knee during a talk show.\u003c/p>\n\u003cfigure id=\"attachment_13854171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-800x533.jpg\" alt=\"Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan. \u003ccite>(Photo by Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When these behaviors happen in public, our brains quickly calculate risk: \u003cem>Do I tolerate a few seconds of discomfort hoping he’ll leave me alone afterwards, or do I speak out and draw more unwanted attention to myself—or worse, provoke anger and retaliation?\u003c/em>\u003c/p>\n\u003cp>Men like Biden and Hardwick hide under the subtlety of their creepiness because how commonplace it is makes it easy to dismiss. But when women and girls are made to live like Ms. Pac-Man, evading potential pursuers day in and day out, it conditions us to question our own bodily autonomy. It puts us on edge. It causes us to question our sanity—whether we’re the only ones turning it into a big deal, since it’s happening in plain sight and no one seems to care. It’s hard to find a voice to speak out when that’s the case, and that needs to change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nancy Pelosi told Biden to “\u003ca href=\"https://www.politico.com/story/2019/04/02/pelosi-says-biden-allegations-are-not-disqualifying-1247827\" target=\"_blank\" rel=\"noopener noreferrer\">join the straight-arm club\u003c/a>” and keep his hands to himself. I’m not calling for a moratorium on friendly hugs, but it would behoove more men to do the same.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last weekend at the \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a27003864/beyonce-omari-hardwick-naacp-awards-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">NAACP Image Awards\u003c/a>, actor Omari Hardwick made headlines for the wrong reasons: invading Beyoncé’s space. Hardwick came over to greet Beyoncé and Jay-Z, and planted a kiss on Beyoncé’s cheek. Then, he doubled back and planted another kiss, this time uncomfortably close to Bey’s mouth. Her face twisted into a subtle cringe.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Just days before, the 2014 nominee for Nevada lieutenant governor, Lucy Flores, published a \u003ca href=\"https://www.thecut.com/2019/03/an-awkward-kiss-changed-how-i-saw-joe-biden.html\" target=\"_blank\" rel=\"noopener noreferrer\">viral essay\u003c/a> about an uncomfortable, similar incident that happened during her campaign. Moments before she took the stage at a speaking engagement, then-vice president Joe Biden—there to endorse her as a candidate—planted a “big, slow kiss” on the back of her head and “inhaled” her hair.\u003c/p>\n\u003cp>“He was there to promote me as the right person for the lieutenant governor job,” she wrote. “Instead, he made me feel uneasy, gross and confused. The vice president of the United States of America had just touched me in an intimate way reserved for close friends, family or romantic partners—and I felt powerless to do anything about it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>After Flores’ essay ran, numerous \u003ca href=\"http://nymag.com/intelligencer/2015/02/9-times-joe-biden-whispered-in-womens-ears.html?gtm=top\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a> of Biden nuzzling, kissing and hugging women and girls from behind at public events resurfaced, stirring up debates about whether his “\u003ca href=\"https://theweek.com/articles/737749/creepy-uncle-joe-biden-2020\" target=\"_blank\" rel=\"noopener noreferrer\">creepy uncle\u003c/a>” vibe would hinder his viability as a presidential candidate. Like clockwork, Biden’s supporters accused Flores of attempting to sabotage his possible run. And like clockwork, Biden responded in a statement, denying wrongdoing. “Not once—never—did I believe I acted inappropriately. If it is suggested I did so, I will listen respectfully,” his statement reads. “But it was never my intention.”\u003c/p>\n\u003cfigure id=\"attachment_13854169\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg\" alt=\"Joe Biden whispers in Christine Carter's ear in 2015.\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467-160x107.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Joe Biden whispers in Stephanie Carter’s ear in 2015. \u003ccite>(Photo: Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard not to notice the parallels between Biden and Hardwick’s behavior. Both incidents may not have been invasive enough to rise to the level of sexual assault, and no one’s pressing charges here—Beyoncé hasn’t commented, and Flores says Biden didn’t do anything illegal—but this banal form of creepiness, subtle enough to give the offending party plausible deniability, is just one of the world’s many ways of signaling that women don’t have complete control over what happens to our bodies. It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link1": "https://www.npr.org/2019/04/01/708667603/joe-biden-responds-to-allegations-of-inappropritate-behavior,NPR: Joe Biden Responds",
"link2": "https://medium.com/@scarterdc/the-metoo-story-that-wasnt-me-6c1d5eb1e94d,Stephanie Carter: The #MeToo Story That Wasn't Me",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For women, these small invasions of personal space are a constant of everyday life, and figuring out quiet ways to duck and dodge them is taxing. There’s the acquaintance who holds what was supposed to be a quick hug hello for way too long, leaving us trapped and wondering how to get out of their embrace without “making it weird.” There are the men who “accidentally” rub up against us on public transit; the ones who squeeze past us in crowded rooms while touching the smalls of our backs; the ones who linger watching us at the gym.\u003c/p>\n\u003cp>This behavior is nothing new, but times are changing. When Adrien Brody surprise-kissed Halle Berry at the Oscars 11 years ago, it was widely celebrated as a magical awards-show moment. (Berry has said that she “\u003ca href=\"https://www.usmagazine.com/entertainment/news/halle-berry-recalls-that-adrien-brody-oscar-kiss-w496090/\" target=\"_blank\" rel=\"noopener noreferrer\">doesn’t know\u003c/a>” if she enjoyed it.) The public’s response was decidedly different a decade later, when a \u003ca href=\"https://www.nytimes.com/2018/09/01/arts/music/ariana-grande-funeral-groping-bishop-ellis.html\" target=\"_blank\" rel=\"noopener noreferrer\">pastor\u003c/a> put his hand a \u003cem>little\u003c/em> too close to Ariana Grande’s breast at Aretha Franklin’s funeral, or when actress \u003ca href=\"https://www.independent.co.uk/voices/adam-sandler-claire-foy-graham-norton-show-hand-knee-inappropriate-everyday-sexism-a8027086.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Foy\u003c/a> deflected Adam Sandler’s hand on her knee during a talk show.\u003c/p>\n\u003cfigure id=\"attachment_13854171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-800x533.jpg\" alt=\"Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan. \u003ccite>(Photo by Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When these behaviors happen in public, our brains quickly calculate risk: \u003cem>Do I tolerate a few seconds of discomfort hoping he’ll leave me alone afterwards, or do I speak out and draw more unwanted attention to myself—or worse, provoke anger and retaliation?\u003c/em>\u003c/p>\n\u003cp>Men like Biden and Hardwick hide under the subtlety of their creepiness because how commonplace it is makes it easy to dismiss. But when women and girls are made to live like Ms. Pac-Man, evading potential pursuers day in and day out, it conditions us to question our own bodily autonomy. It puts us on edge. It causes us to question our sanity—whether we’re the only ones turning it into a big deal, since it’s happening in plain sight and no one seems to care. It’s hard to find a voice to speak out when that’s the case, and that needs to change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nancy Pelosi told Biden to “\u003ca href=\"https://www.politico.com/story/2019/04/02/pelosi-says-biden-allegations-are-not-disqualifying-1247827\" target=\"_blank\" rel=\"noopener noreferrer\">join the straight-arm club\u003c/a>” and keep his hands to himself. I’m not calling for a moratorium on friendly hugs, but it would behoove more men to do the same.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Big Freedia Is The 21st Century's Ambassador Of Freedom",
"headTitle": "Big Freedia Is The 21st Century’s Ambassador Of Freedom | KQED",
"content": "\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>[contextly_sidebar id=”wmItkBRLagwu5CLbBifk5tJUSSVtTMcO”]\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>[contextly_sidebar id=”196Vw4E6m4hAnG52b9gYA7Af8aVJr8AZ”]\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>[contextly_sidebar id=”M9zWrgJV0CpDCiyJcTP6szC8wYud4tbO”]\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>[contextly_sidebar id=”uFEdcByMLtnO6mVBr3TH3h7ido2axI1y”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Beyoncé and Jay-Z's 'On the Run II' Tour at Levi's Stadium",
"headTitle": "Live Review: Beyoncé and Jay-Z’s ‘On the Run II’ Tour at Levi’s Stadium | KQED",
"content": "\u003cp>Helen of Troy was the face that launched a thousand ships. In Greek mythology, her power was so singular and her beauty so striking, men went to war in their quest to claim her. \u003c/p>\n\u003cp>In 2018, the only person with the ability to whip thousands into that kind of fervor is Beyoncé, the most compelling artist of our time.\u003c/p>\n\u003cp>Unlike Helen, Mrs. Carter-Knowles is fully the master of her own fate. Her power is a product of her trademark Virgo fastidiousness, unimpeachable craftsmanship, insistence on operating on her own terms, and ability to strike listeners straight in the heart in the span of three minutes.\u003c/p>\n\u003cp>And on Saturday night, 49,000 people at the sold-out Levi’s Stadium in Santa Clara for the ‘On The Run II’ tour were putty in Beyoncé’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13841905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg\" alt=\"Beyoncé performs on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California.\" width=\"800\" height=\"1116\" class=\"size-medium wp-image-13841905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-768x1071.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1020x1422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-861x1200.jpg 861w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1180x1645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-960x1339.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-240x335.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-375x523.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-520x725.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline.jpg 1469w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona / Parkwood / PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearing the end of its summer-long run, the tour is, technically, a co-headlining show with her husband Jay-Z. But let’s be honest, the Beyhive—her intensely loyal international fan base—swarmed because the queen, not Jay, called. This was abundantly clear near the middle of the show, after her rendition of “Countdown” and before “Sorry,” when the music came to a full stop to accommodate the stadium’s spontaneous, exuberant roar for a full minute.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even hours earlier, the buzz of excitement was palpable. Throngs of people spilled into the stadium from surrounding parking lots and sidewalks in their Sunday’s best. Many opted for yellow collegiate wear, a call to Beyoncé’s Coachella performance in April, during which the singer paid homage to the country’s Historically Black Colleges and Universities.\u003c/p>\n\u003cp>[contextly_sidebar id=”YeH0QJMkNW10WRSiVQhPmjPcfnvKunX6″]\u003c/p>\n\u003cp>Such outfits weren’t as plentiful or extravagant as the attire in the audience the \u003ca href=\"https://www.kqed.org/pop/24562/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium\" rel=\"noopener\" target=\"_blank\">last time Mrs. Carter came to Levi’s Stadium, in 2016\u003c/a>. Then, fans arrived at the ‘Formation’ tour with their best approximation of the singer’s looks: the ebullient, yellow Roberto Cavalli dress from “Hold Up,” the all-black Southern Gothic gown with a wide-brimmed hat from “Formation,” and the Ms. Third Ward pageantry from “Pretty Hurts.”\u003c/p>\n\u003cp>And still, the unofficial dress code was heeded Saturday night. There were yellow berets, blinding highlights, bodysuits, thigh-high boots, “Yonce”-inspired plaid and glittering fishnets galore. Navigating the stadium was chaotic. Long, winding lines snaked down both sides of the concourse as people tried to ready their supplies—food, tour merchandise and plenty of alcohol—before the night’s main event.\u003c/p>\n\u003cfigure id=\"attachment_13841906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg\" alt=\"Chloe X Halle perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. \" width=\"800\" height=\"610\" class=\"size-medium wp-image-13841906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-960x732.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe X Halle perform on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona/Parkwood/PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 8 p.m., the sun had gone away, R&B duo Chloe x Halle had performed and DJ Khaled was onstage doing his best approximation of a DJ. You’d be hard pressed to get more than 20 seconds of a song out of him, but his meme-able enthusiasm and array of special guests—Kash Doll, Sage the Gemini, Oakland’s Jonn Hart and Naughty by Nature—do the job. Below me, two men began yiking to Sage the Gemini’s “Gas Pedal,” and all around me people writhed in their seats.\u003c/p>\n\u003cp>But just after 8:45 p.m., as Petey Pablo’s voice was interrupted mid-“Freek-a-Leek,” it was time. “THIS IS REAL LIFE” flashed on the giant screen, followed by clips of Bey and Jay as lovers on the lam, resuming their roles as Bonnie and Clyde-esque figures riding through the streets of Kingston, Jamaica. Judging by all the noise, it’d be safe to say fans were wondering if what they were about to witness was real life, too.\u003c/p>\n\u003cp>The screen cut to black, the couple appeared in all-white, and I can only assume it was a product of Beyoncé’s benevolence to open the show with “Holy Grail,” her vocals breathing new life into the misstep in Jay Z’s discography. \u003c/p>\n\u003cfigure id=\"attachment_13841911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg\" alt=\"Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"494\" class=\"size-medium wp-image-13841911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next two and a half hours constituted an elaborate, well-crafted couple’s journey through trials, tribulations, and eventually, reconciliation. Past the show’s pyrotechnics, lush cinematic montages and painstakingly precise choreography, it served as a campaign for the enduring force of love (theirs, in particular), capable of softening the hearts of even the coldest of cynics among the hive. \u003c/p>\n\u003cp>Maybe now, after a summer of performing his penance, Jay-Z will be forgiven for his transgressions against Beyoncé. But while Jay’s charisma, ease and nimble lyricism were a necessary presence, on Saturday night he was the second most compelling rapper in the room. After all, Beyoncé is the glue at the heart of this.\u003c/p>\n\u003cp>In fact, the centerpiece of the show came about an hour and a half in, as the Houston singer strolled down the catwalk in an angelic gold number with a sweeping train behind her. She was alone to sing “Resentment,” the vulnerable ballad about the aftermath of a lover’s betrayal.\u003c/p>\n\u003cfigure id=\"attachment_13841908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg\" alt=\"Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track off 2006’s \u003cem>B-Day\u003c/em> offers no pretense, and gets to the core of why she’s more than just a stellar pop star. Resentment is supposed to be a bad thing. There is an expectation that women ought to be above the sickly feeling of indignation that eats us up inside after being wronged. As a black woman, that expectation of strength and grace is triple-fold for Beyoncé. But on “Resentment,” and throughout her career—not least of all with her magnum opus “Lemonade”—she rejects that expectation.\u003c/p>\n\u003cp>She’s unflinchingly vulnerable about the pain, anger and sorrow of experiencing heartbreak. Graciousness isn’t appropriate here—rather, she leans into rightfully earned anger, insecurity, and even bitterness, because it’s honest.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For Beyoncé, the personal is the political; she knows that for her, and for many of her fans, it’s impossible to separate the two.\u003c/p>\n\n",
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"excerpt": "This Beyoncé tour is, technically, a co-headlining show with husband Jay-Z. But let's be honest.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Helen of Troy was the face that launched a thousand ships. In Greek mythology, her power was so singular and her beauty so striking, men went to war in their quest to claim her. \u003c/p>\n\u003cp>In 2018, the only person with the ability to whip thousands into that kind of fervor is Beyoncé, the most compelling artist of our time.\u003c/p>\n\u003cp>Unlike Helen, Mrs. Carter-Knowles is fully the master of her own fate. Her power is a product of her trademark Virgo fastidiousness, unimpeachable craftsmanship, insistence on operating on her own terms, and ability to strike listeners straight in the heart in the span of three minutes.\u003c/p>\n\u003cp>And on Saturday night, 49,000 people at the sold-out Levi’s Stadium in Santa Clara for the ‘On The Run II’ tour were putty in Beyoncé’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13841905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg\" alt=\"Beyoncé performs on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California.\" width=\"800\" height=\"1116\" class=\"size-medium wp-image-13841905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-768x1071.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1020x1422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-861x1200.jpg 861w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1180x1645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-960x1339.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-240x335.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-375x523.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-520x725.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline.jpg 1469w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona / Parkwood / PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearing the end of its summer-long run, the tour is, technically, a co-headlining show with her husband Jay-Z. But let’s be honest, the Beyhive—her intensely loyal international fan base—swarmed because the queen, not Jay, called. This was abundantly clear near the middle of the show, after her rendition of “Countdown” and before “Sorry,” when the music came to a full stop to accommodate the stadium’s spontaneous, exuberant roar for a full minute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even hours earlier, the buzz of excitement was palpable. Throngs of people spilled into the stadium from surrounding parking lots and sidewalks in their Sunday’s best. Many opted for yellow collegiate wear, a call to Beyoncé’s Coachella performance in April, during which the singer paid homage to the country’s Historically Black Colleges and Universities.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Such outfits weren’t as plentiful or extravagant as the attire in the audience the \u003ca href=\"https://www.kqed.org/pop/24562/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium\" rel=\"noopener\" target=\"_blank\">last time Mrs. Carter came to Levi’s Stadium, in 2016\u003c/a>. Then, fans arrived at the ‘Formation’ tour with their best approximation of the singer’s looks: the ebullient, yellow Roberto Cavalli dress from “Hold Up,” the all-black Southern Gothic gown with a wide-brimmed hat from “Formation,” and the Ms. Third Ward pageantry from “Pretty Hurts.”\u003c/p>\n\u003cp>And still, the unofficial dress code was heeded Saturday night. There were yellow berets, blinding highlights, bodysuits, thigh-high boots, “Yonce”-inspired plaid and glittering fishnets galore. Navigating the stadium was chaotic. Long, winding lines snaked down both sides of the concourse as people tried to ready their supplies—food, tour merchandise and plenty of alcohol—before the night’s main event.\u003c/p>\n\u003cfigure id=\"attachment_13841906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg\" alt=\"Chloe X Halle perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. \" width=\"800\" height=\"610\" class=\"size-medium wp-image-13841906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-960x732.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe X Halle perform on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona/Parkwood/PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 8 p.m., the sun had gone away, R&B duo Chloe x Halle had performed and DJ Khaled was onstage doing his best approximation of a DJ. You’d be hard pressed to get more than 20 seconds of a song out of him, but his meme-able enthusiasm and array of special guests—Kash Doll, Sage the Gemini, Oakland’s Jonn Hart and Naughty by Nature—do the job. Below me, two men began yiking to Sage the Gemini’s “Gas Pedal,” and all around me people writhed in their seats.\u003c/p>\n\u003cp>But just after 8:45 p.m., as Petey Pablo’s voice was interrupted mid-“Freek-a-Leek,” it was time. “THIS IS REAL LIFE” flashed on the giant screen, followed by clips of Bey and Jay as lovers on the lam, resuming their roles as Bonnie and Clyde-esque figures riding through the streets of Kingston, Jamaica. Judging by all the noise, it’d be safe to say fans were wondering if what they were about to witness was real life, too.\u003c/p>\n\u003cp>The screen cut to black, the couple appeared in all-white, and I can only assume it was a product of Beyoncé’s benevolence to open the show with “Holy Grail,” her vocals breathing new life into the misstep in Jay Z’s discography. \u003c/p>\n\u003cfigure id=\"attachment_13841911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg\" alt=\"Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"494\" class=\"size-medium wp-image-13841911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next two and a half hours constituted an elaborate, well-crafted couple’s journey through trials, tribulations, and eventually, reconciliation. Past the show’s pyrotechnics, lush cinematic montages and painstakingly precise choreography, it served as a campaign for the enduring force of love (theirs, in particular), capable of softening the hearts of even the coldest of cynics among the hive. \u003c/p>\n\u003cp>Maybe now, after a summer of performing his penance, Jay-Z will be forgiven for his transgressions against Beyoncé. But while Jay’s charisma, ease and nimble lyricism were a necessary presence, on Saturday night he was the second most compelling rapper in the room. After all, Beyoncé is the glue at the heart of this.\u003c/p>\n\u003cp>In fact, the centerpiece of the show came about an hour and a half in, as the Houston singer strolled down the catwalk in an angelic gold number with a sweeping train behind her. She was alone to sing “Resentment,” the vulnerable ballad about the aftermath of a lover’s betrayal.\u003c/p>\n\u003cfigure id=\"attachment_13841908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg\" alt=\"Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track off 2006’s \u003cem>B-Day\u003c/em> offers no pretense, and gets to the core of why she’s more than just a stellar pop star. Resentment is supposed to be a bad thing. There is an expectation that women ought to be above the sickly feeling of indignation that eats us up inside after being wronged. As a black woman, that expectation of strength and grace is triple-fold for Beyoncé. But on “Resentment,” and throughout her career—not least of all with her magnum opus “Lemonade”—she rejects that expectation.\u003c/p>\n\u003cp>She’s unflinchingly vulnerable about the pain, anger and sorrow of experiencing heartbreak. Graciousness isn’t appropriate here—rather, she leans into rightfully earned anger, insecurity, and even bitterness, because it’s honest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Beyoncé, the personal is the political; she knows that for her, and for many of her fans, it’s impossible to separate the two.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "11 Must-See Fall Concerts: Beyoncé, Giorgio Moroder, Blood Orange and More",
"headTitle": "11 Must-See Fall Concerts: Beyoncé, Giorgio Moroder, Blood Orange and More | KQED",
"content": "\u003cp>This fall, the Bay Area concert calendar is packed with music festivals, tours from all-time greats and club appearances from notable up-and-comers. Whether you’re nostalgic for hyphy, craving a rave or need a soul-cleansing night of protest anthems, we’ve got you covered with our selective list of shows not to miss this season. Stay tuned for our jazz and classical preview later this week.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cfigure id=\"attachment_13839943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-800x450.jpg\" alt=\"E-40 performs at the 2014 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 performs at the 2014 Coachella Valley Music & Arts Festival. \u003ccite>(Kevin Winter/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.oraclearena.com/events/detail/rolling-loud\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a>\u003cbr>\nSept. 15–16, Oracle Arena, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Rolling Loud, the traveling rap festival, comes to the Bay Area for the second year in a row, bringing a solid mix of local and national talent to Oakland’s Oracle Arena. This festival is all about street and party rap, booking underground favorites alongside established major label signees. E-40, Kamaiyah, Mozzy, Noni Blanco, ALLBLACK and Saweetie are just a few of the artists representing Northern California, while Wiz Khalifa and Travis Scott headline. Gucci Mane, one of the architects of modern-day trap music, also appears, alongside next-generation trap artists like Lil Uzi Vert and Playboy Carti.\u003c/p>\n\u003cfigure id=\"attachment_13839941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-800x457.jpg\" alt=\"Dev Hynes aka Blood Orange performs at FYF Fest 2016 in Los Angeles. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dev Hynes aka Blood Orange performs at FYF Fest 2016 in Los Angeles. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://thefoxoakland.com/events/blood-orange-2\" target=\"_blank\" rel=\"noopener\">\u003cb>Blood Orange\u003c/b>\u003c/a>\u003cbr>\n\u003cstrong>Sept. 20, Fox Theater, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Devonté Hynes originally gained attention as a producer for indie-pop favorites Solange and Sky Ferreira before rising to major acclaim as a solo artist. As Blood Orange, his soulful tracks, with ’80s power-ballad drums and funky bass lines, stem from the lineages of Prince and Sade. Blood Orange brings a decisively melancholy overtone to his compositions; his latest album,\u003cem> Negro Swan\u003c/em>, is a highly personal project that deals with coming to terms with being different. He’s also a Bay Area favorite. When he opened for Grace Jones at the Greek Theater in 2016, he paid homage to Terrence McCrary, a.k.a TMACK, an artist and well-loved member of the creative community who was killed in a shooting.\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sapcenter.com/events/detail/lostigresdelnorteandalejandrofernandez\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte and Alejandro Fernández\u003c/a>\u003cbr>\nSept. 21, SAP Center, San Jose.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Los Tigres del Norte are practically synonymous with Mexican norteño music. Led by three brothers originally from Mexico, the band was founded in San Jose, where they perform in September with Mexican singer Alexandro Fernández, son of the great balladeer Vicente Fernández. With several generations of fans, Los Tigres have leveraged their fame to make powerful political statements. Most recently, they performed at Folsom State Prison in an act of solidarity with incarcerated people; prior to that, their song “Paisano a Paisano” told the stories of undocumented farm workers who toil in the fields as their bosses reap the riches.\u003c/p>\n\u003cfigure id=\"attachment_13839939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-800x450.jpg\" alt=\"Lil B performs at the 2015 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at the 2015 Coachella Valley Music & Arts Festival. \u003ccite>(Frazer Harrison/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/210090923180784/\" target=\"_blank\" rel=\"noopener\">DMP Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 23, SoMa StrEat Food Park, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Nostalgic for the hyphy movement? DMP Music Festival, a new event in its first year, is the place to go stupid. The Pack, Lil B’s rap group responsible for songs like “Vans” and “Booty Bounce Boppa,” reunites for this event. Joining them on the bill is Vallejo rap prodigy Nef the Pharaoh, along with D-Lo, the North Oakland rapper whose 2009 song “No Hoe” still puts dance floors in a frenzy nearly 10 years later. Stunna shades and tall tees not required.\u003c/p>\n\u003cfigure id=\"attachment_10136103\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136103 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/186799878_custom-49bd38fa52b87ae2afc5980791481eaa9028d70a-1440x1014.jpg\" alt=\"Giorgio Moroder performs at HARD Day Of The Dead in Los Angeles in November 2013.\" width=\"640\" height=\"451\">\u003cfigcaption class=\"wp-caption-text\">Giorgio Moroder performs at HARD Day Of The Dead in Los Angeles in November 2013. \u003ccite>(Gabriel Olsen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://mezzaninesf.com/events/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>\u003cbr>\nSept. 28, Mezzanine, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Giorgio Moroder is the reason why half of the music on the radio sounds the way it does. Known as the father of disco and grandfather of house, the Italian producer helped popularize the synthesizer as a staple instrument of popular music, working with Donna Summer, Blondie, David Bowie, Daft Punk and many more. At 78 years old, he’s still touring and creating, and is considered the oldest DJ in the world. A true living legend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.levisstadium.com/event/2018-09-29-otr-ll/\" target=\"_blank\" rel=\"noopener\">Beyoncé and Jay Z\u003c/a>\u003cbr>\n\u003cb>Sept. 29, Levi’s Stadium, Santa Clara.\u003c/b>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13829594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-800x450.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jay Z may have spat some bars about financial literacy recently, but Beyoncé is the true star of her and her husband’s On the Run II tour. As we saw with her Coachella performance, her live show is a larger-than-life, dazzling showcase that celebrates black family, femininity, love, creativity and resistance. Beyoncé and Jay Z’s latest album, \u003cem>Everything is Love\u003c/em>, which they released as The Carters, is a jubilant victory lap that celebrates America’s first family of pop.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cfigure id=\"attachment_13839867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-800x450.jpg\" alt=\"Ani DiFranco performs during the 2012 New Orleans Jazz & Heritage Festival on May 3, 2012 in New Orleans, Louisiana.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ani DiFranco performs during the 2012 New Orleans Jazz & Heritage Festival on May 3, 2012 in New Orleans, Louisiana. \u003ccite>( Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>\u003cbr>\nOct. 5–7, Golden Gate Park, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass has become a San Francisco tradition over the past 18 years, and best of all, it’s free. The fest books mostly bluegrass, folk and country acts, but there are also usually surprises from other genres (past years have featured MC Hammer and Big Freedia). The 2018 lineup includes over 80 acts on six stages; notable artists to look out for include singer-songwriter Ani DiFranco, Chicano rockers Los Lobos, Graham Nash of Crosby, Stills, Nash & Young and lots more.\u003c/p>\n\u003cfigure id=\"attachment_13832404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/tame-impala-800x450.jpg\" alt=\"Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>\u003cbr>\nOct. 13–14, Middle Harbor Shoreline Park, Oakland.\u003c/strong>\u003c/p>\n\u003cp>After skipping a year in 2017, Treasure Island is back—this time across the bay in West Oakland’s Middle Harbor Shoreline Park. Headliners this year include “L$D” rapper A$AP Rocky and psych rockers Tame Impala. Pusha T, who recently made a comeback on Kanye West’s G.O.O.D. Music after his infamous beef with Drake, will also be there, as well as Courtney Barnett and Soccer Mommy, two of the most interesting indie rock singer-songwriters to come out in years.\u003c/p>\n\u003ch2>November\u003c/h2>\n\u003cfigure id=\"attachment_13013074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13013074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-800x450.jpg\" alt=\"Joan Baez performs onstage at the ASCAP Centennial Awards in 2014.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez performs onstage at the ASCAP Centennial Awards in 2014. \u003ccite>(Brian Ach/Getty Images for ASCAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.stubhub.com/joan-baez-tickets/performer/228/\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a>\u003cbr>\nNov. 11, Weill Hall, Ronhert Park\u003cbr>\nNov. 15, The Masonic, San Francisco\u003cbr>\nNov. 16–17, Fox Theater, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Joan Baez—need I say more? The folk great and activist will be making her rounds through Northern California in November with four sold-out concerts. (At press time, tickets are still available on the secondary market starting in the $70 range.) Baez has used her voice to stand in solidarity with the civil rights, labor and anti-war movements and continues to give people hope in today’s political moment with classic songs like “We Shall Overcome.”\u003c/p>\n\u003cfigure id=\"attachment_13839946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-800x450.jpg\" alt=\"Bonobo at the 2014 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonobo at the 2014 Coachella Valley Music & Arts Festival. \u003ccite>(Jason Kempin/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.themidwaysf.com/event/1750684-bonobo-dj-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">Bonobo\u003c/a>\u003cbr>\nNov. 17, The Midway, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>The Midway, the spacious warehouse-turned-venue in San Francisco’s Dogpatch neighborhood, is an excellent place to rave. This November, it plays host to British producer Bonobo, who’s earned a cult following over the past 20 years for his eclectic house, EDM and ambient production, fusing jazz and world music elements into his danceable and surprising beats.\u003c/p>\n\u003cfigure id=\"attachment_13839947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-800x450.jpg\" alt=\"Christine McVie (L) and Stevie Nicks of Fleetwood Mac perform during MusiCares Person of the Year honoring Fleetwood Mac at Radio City Music Hall on January 26, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine McVie (L) and Stevie Nicks of Fleetwood Mac perform during MusiCares Person of the Year honoring Fleetwood Mac at Radio City Music Hall on January 26, 2018 in New York City. \u003ccite>(Steven Ferdman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.oraclearena.com/events/detail/fleetwood-mac-2\" target=\"_blank\" rel=\"noopener\">Fleetwood Mac\u003c/a>\u003cbr>\nNov. 25, Oracle Arena, Oakland.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fleetwood Mac’s “Dreams” unexpectedly shot to the top of Billboard’s rock chart this year on the strength of a viral meme that paired the 1977 track with a video of Alcorn State University’s dance troupe—a testament to Fleetwood Mac’s enduring, cross-cultural and intergenerational appeal. The band is back on tour and working on new material, so here’s a chance to watch them perform classics like “The Chain” and “Go Your Own Way” and witness frontwoman Stevie Nicks in all her bohemian goddess glory.\u003c/p>\n\n",
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"excerpt": " Whether you're nostalgic for the hyphy movement, craving a rave or need a soul-cleansing moment of singing along to protest anthems, we've got you covered. ",
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"description": " Whether you're nostalgic for the hyphy movement, craving a rave or need a soul-cleansing moment of singing along to protest anthems, we've got you covered. ",
"title": "11 Must-See Fall Concerts: Beyoncé, Giorgio Moroder, Blood Orange and More | KQED",
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"headline": "11 Must-See Fall Concerts: Beyoncé, Giorgio Moroder, Blood Orange and More",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This fall, the Bay Area concert calendar is packed with music festivals, tours from all-time greats and club appearances from notable up-and-comers. Whether you’re nostalgic for hyphy, craving a rave or need a soul-cleansing night of protest anthems, we’ve got you covered with our selective list of shows not to miss this season. Stay tuned for our jazz and classical preview later this week.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cfigure id=\"attachment_13839943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-800x450.jpg\" alt=\"E-40 performs at the 2014 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484349659.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 performs at the 2014 Coachella Valley Music & Arts Festival. \u003ccite>(Kevin Winter/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.oraclearena.com/events/detail/rolling-loud\" target=\"_blank\" rel=\"noopener\">Rolling Loud\u003c/a>\u003cbr>\nSept. 15–16, Oracle Arena, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Rolling Loud, the traveling rap festival, comes to the Bay Area for the second year in a row, bringing a solid mix of local and national talent to Oakland’s Oracle Arena. This festival is all about street and party rap, booking underground favorites alongside established major label signees. E-40, Kamaiyah, Mozzy, Noni Blanco, ALLBLACK and Saweetie are just a few of the artists representing Northern California, while Wiz Khalifa and Travis Scott headline. Gucci Mane, one of the architects of modern-day trap music, also appears, alongside next-generation trap artists like Lil Uzi Vert and Playboy Carti.\u003c/p>\n\u003cfigure id=\"attachment_13839941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-800x457.jpg\" alt=\"Dev Hynes aka Blood Orange performs at FYF Fest 2016 in Los Angeles. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-597566750-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dev Hynes aka Blood Orange performs at FYF Fest 2016 in Los Angeles. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://thefoxoakland.com/events/blood-orange-2\" target=\"_blank\" rel=\"noopener\">\u003cb>Blood Orange\u003c/b>\u003c/a>\u003cbr>\n\u003cstrong>Sept. 20, Fox Theater, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Devonté Hynes originally gained attention as a producer for indie-pop favorites Solange and Sky Ferreira before rising to major acclaim as a solo artist. As Blood Orange, his soulful tracks, with ’80s power-ballad drums and funky bass lines, stem from the lineages of Prince and Sade. Blood Orange brings a decisively melancholy overtone to his compositions; his latest album,\u003cem> Negro Swan\u003c/em>, is a highly personal project that deals with coming to terms with being different. He’s also a Bay Area favorite. When he opened for Grace Jones at the Greek Theater in 2016, he paid homage to Terrence McCrary, a.k.a TMACK, an artist and well-loved member of the creative community who was killed in a shooting.\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sapcenter.com/events/detail/lostigresdelnorteandalejandrofernandez\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte and Alejandro Fernández\u003c/a>\u003cbr>\nSept. 21, SAP Center, San Jose.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Los Tigres del Norte are practically synonymous with Mexican norteño music. Led by three brothers originally from Mexico, the band was founded in San Jose, where they perform in September with Mexican singer Alexandro Fernández, son of the great balladeer Vicente Fernández. With several generations of fans, Los Tigres have leveraged their fame to make powerful political statements. Most recently, they performed at Folsom State Prison in an act of solidarity with incarcerated people; prior to that, their song “Paisano a Paisano” told the stories of undocumented farm workers who toil in the fields as their bosses reap the riches.\u003c/p>\n\u003cfigure id=\"attachment_13839939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-800x450.jpg\" alt=\"Lil B performs at the 2015 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-469249174-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at the 2015 Coachella Valley Music & Arts Festival. \u003ccite>(Frazer Harrison/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/210090923180784/\" target=\"_blank\" rel=\"noopener\">DMP Music Festival\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 23, SoMa StrEat Food Park, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Nostalgic for the hyphy movement? DMP Music Festival, a new event in its first year, is the place to go stupid. The Pack, Lil B’s rap group responsible for songs like “Vans” and “Booty Bounce Boppa,” reunites for this event. Joining them on the bill is Vallejo rap prodigy Nef the Pharaoh, along with D-Lo, the North Oakland rapper whose 2009 song “No Hoe” still puts dance floors in a frenzy nearly 10 years later. Stunna shades and tall tees not required.\u003c/p>\n\u003cfigure id=\"attachment_10136103\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10136103 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/186799878_custom-49bd38fa52b87ae2afc5980791481eaa9028d70a-1440x1014.jpg\" alt=\"Giorgio Moroder performs at HARD Day Of The Dead in Los Angeles in November 2013.\" width=\"640\" height=\"451\">\u003cfigcaption class=\"wp-caption-text\">Giorgio Moroder performs at HARD Day Of The Dead in Los Angeles in November 2013. \u003ccite>(Gabriel Olsen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://mezzaninesf.com/events/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>\u003cbr>\nSept. 28, Mezzanine, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Giorgio Moroder is the reason why half of the music on the radio sounds the way it does. Known as the father of disco and grandfather of house, the Italian producer helped popularize the synthesizer as a staple instrument of popular music, working with Donna Summer, Blondie, David Bowie, Daft Punk and many more. At 78 years old, he’s still touring and creating, and is considered the oldest DJ in the world. A true living legend.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.levisstadium.com/event/2018-09-29-otr-ll/\" target=\"_blank\" rel=\"noopener\">Beyoncé and Jay Z\u003c/a>\u003cbr>\n\u003cb>Sept. 29, Levi’s Stadium, Santa Clara.\u003c/b>\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13829594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-800x450.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946417964-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jay Z may have spat some bars about financial literacy recently, but Beyoncé is the true star of her and her husband’s On the Run II tour. As we saw with her Coachella performance, her live show is a larger-than-life, dazzling showcase that celebrates black family, femininity, love, creativity and resistance. Beyoncé and Jay Z’s latest album, \u003cem>Everything is Love\u003c/em>, which they released as The Carters, is a jubilant victory lap that celebrates America’s first family of pop.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cfigure id=\"attachment_13839867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-800x450.jpg\" alt=\"Ani DiFranco performs during the 2012 New Orleans Jazz & Heritage Festival on May 3, 2012 in New Orleans, Louisiana.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-143810746-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ani DiFranco performs during the 2012 New Orleans Jazz & Heritage Festival on May 3, 2012 in New Orleans, Louisiana. \u003ccite>( Rick Diamond/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>\u003cbr>\nOct. 5–7, Golden Gate Park, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass has become a San Francisco tradition over the past 18 years, and best of all, it’s free. The fest books mostly bluegrass, folk and country acts, but there are also usually surprises from other genres (past years have featured MC Hammer and Big Freedia). The 2018 lineup includes over 80 acts on six stages; notable artists to look out for include singer-songwriter Ani DiFranco, Chicano rockers Los Lobos, Graham Nash of Crosby, Stills, Nash & Young and lots more.\u003c/p>\n\u003cfigure id=\"attachment_13832404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/tame-impala-800x450.jpg\" alt=\"Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/tame-impala-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a>\u003cbr>\nOct. 13–14, Middle Harbor Shoreline Park, Oakland.\u003c/strong>\u003c/p>\n\u003cp>After skipping a year in 2017, Treasure Island is back—this time across the bay in West Oakland’s Middle Harbor Shoreline Park. Headliners this year include “L$D” rapper A$AP Rocky and psych rockers Tame Impala. Pusha T, who recently made a comeback on Kanye West’s G.O.O.D. Music after his infamous beef with Drake, will also be there, as well as Courtney Barnett and Soccer Mommy, two of the most interesting indie rock singer-songwriters to come out in years.\u003c/p>\n\u003ch2>November\u003c/h2>\n\u003cfigure id=\"attachment_13013074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13013074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-800x450.jpg\" alt=\"Joan Baez performs onstage at the ASCAP Centennial Awards in 2014.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Joan-Baez-1020x574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez performs onstage at the ASCAP Centennial Awards in 2014. \u003ccite>(Brian Ach/Getty Images for ASCAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.stubhub.com/joan-baez-tickets/performer/228/\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a>\u003cbr>\nNov. 11, Weill Hall, Ronhert Park\u003cbr>\nNov. 15, The Masonic, San Francisco\u003cbr>\nNov. 16–17, Fox Theater, Oakland.\u003c/strong>\u003c/p>\n\u003cp>Joan Baez—need I say more? The folk great and activist will be making her rounds through Northern California in November with four sold-out concerts. (At press time, tickets are still available on the secondary market starting in the $70 range.) Baez has used her voice to stand in solidarity with the civil rights, labor and anti-war movements and continues to give people hope in today’s political moment with classic songs like “We Shall Overcome.”\u003c/p>\n\u003cfigure id=\"attachment_13839946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-800x450.jpg\" alt=\"Bonobo at the 2014 Coachella Valley Music & Arts Festival.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-484285045-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonobo at the 2014 Coachella Valley Music & Arts Festival. \u003ccite>(Jason Kempin/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.themidwaysf.com/event/1750684-bonobo-dj-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">Bonobo\u003c/a>\u003cbr>\nNov. 17, The Midway, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>The Midway, the spacious warehouse-turned-venue in San Francisco’s Dogpatch neighborhood, is an excellent place to rave. This November, it plays host to British producer Bonobo, who’s earned a cult following over the past 20 years for his eclectic house, EDM and ambient production, fusing jazz and world music elements into his danceable and surprising beats.\u003c/p>\n\u003cfigure id=\"attachment_13839947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-800x450.jpg\" alt=\"Christine McVie (L) and Stevie Nicks of Fleetwood Mac perform during MusiCares Person of the Year honoring Fleetwood Mac at Radio City Music Hall on January 26, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-910834964-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine McVie (L) and Stevie Nicks of Fleetwood Mac perform during MusiCares Person of the Year honoring Fleetwood Mac at Radio City Music Hall on January 26, 2018 in New York City. \u003ccite>(Steven Ferdman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.oraclearena.com/events/detail/fleetwood-mac-2\" target=\"_blank\" rel=\"noopener\">Fleetwood Mac\u003c/a>\u003cbr>\nNov. 25, Oracle Arena, Oakland.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac’s “Dreams” unexpectedly shot to the top of Billboard’s rock chart this year on the strength of a viral meme that paired the 1977 track with a video of Alcorn State University’s dance troupe—a testament to Fleetwood Mac’s enduring, cross-cultural and intergenerational appeal. The band is back on tour and working on new material, so here’s a chance to watch them perform classics like “The Chain” and “Go Your Own Way” and witness frontwoman Stevie Nicks in all her bohemian goddess glory.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Drops Surprise Album, 'Everything is Love,' with Jay-Z",
"headTitle": "Beyoncé Drops Surprise Album, ‘Everything is Love,’ with Jay-Z | KQED",
"content": "\u003cp>Beyoncé released a joint album with Jay-Z on Saturday, titled \u003cem>Everything is Love\u003c/em> and credited to “The Carters.” In addition to the album, the couple released a bonus single “SALUD” and a video for album track “APESHIT,” filmed at the Louvre in Paris. \u003c/p>\n\u003cfigure id=\"attachment_13835217\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/everything.jpg\" alt=\"'Everything is Love' album cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-13835217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything is Love’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Rumors of a collaborative album have swirled for months, especially after the couple announced a joint tour together. The release of \u003cem>Everything is Love\u003c/em> comes at the end of that tour’s leg in England; an announcement was broadcast at Beyoncé and Jay-Z’s London show. \u003c/p>\n\u003cp>https://twitter.com/deborahh_v/status/1008109092802646019\u003c/p>\n\u003cp>The album features Migos, Pharrell and others, including a guest appearance by Blue Ivy Carter, shouting out her new siblings. The album finds Jay-Z dissing the NFL and the Grammys, and a swipe at Spotify. (Notably, the album comes in the middle of Kanye West’s \u003ca href=\"https://www.spin.com/2018/05/kanye-tweets-tracklists-good-music-albums/\" rel=\"noopener\" target=\"_blank\">blitz of weekly albums\u003c/a> from his associated artists.)\u003c/p>\n\u003cp>\u003cdel datetime=\"2018-06-18T16:23:11+00:00\">At post time, the album is only available on Tidal\u003c/del>. UPDATE: It’s \u003ca href=\"https://twitter.com/nprmusic/status/1008666725661986816\" rel=\"noopener\" target=\"_blank\">now on Spotify\u003c/a>. Beyoncé and Jay-Z are on the On The Run Tour II through the fall, which hits the Bay Area in September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Know where you was when that digital popped? A new nine-song album from Beyoncé and Jay-Z just dropped.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé released a joint album with Jay-Z on Saturday, titled \u003cem>Everything is Love\u003c/em> and credited to “The Carters.” In addition to the album, the couple released a bonus single “SALUD” and a video for album track “APESHIT,” filmed at the Louvre in Paris. \u003c/p>\n\u003cfigure id=\"attachment_13835217\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/everything.jpg\" alt=\"'Everything is Love' album cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-13835217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything is Love’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Rumors of a collaborative album have swirled for months, especially after the couple announced a joint tour together. The release of \u003cem>Everything is Love\u003c/em> comes at the end of that tour’s leg in England; an announcement was broadcast at Beyoncé and Jay-Z’s London show. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The album features Migos, Pharrell and others, including a guest appearance by Blue Ivy Carter, shouting out her new siblings. The album finds Jay-Z dissing the NFL and the Grammys, and a swipe at Spotify. (Notably, the album comes in the middle of Kanye West’s \u003ca href=\"https://www.spin.com/2018/05/kanye-tweets-tracklists-good-music-albums/\" rel=\"noopener\" target=\"_blank\">blitz of weekly albums\u003c/a> from his associated artists.)\u003c/p>\n\u003cp>\u003cdel datetime=\"2018-06-18T16:23:11+00:00\">At post time, the album is only available on Tidal\u003c/del>. UPDATE: It’s \u003ca href=\"https://twitter.com/nprmusic/status/1008666725661986816\" rel=\"noopener\" target=\"_blank\">now on Spotify\u003c/a>. Beyoncé and Jay-Z are on the On The Run Tour II through the fall, which hits the Bay Area in September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Criminal Complaints and Industry Investigations Target Tidal",
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"content": "\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming platform Tidal, whose most public owner and champion is rapper and entrepreneur \u003ca href=\"https://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>, is facing heavy criticism and possible legal action from several Scandinavian artist organizations and other entities after a Norwegian business newspaper alleged last week that the company had \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610193354/tidal-accused-of-faking-hundreds-of-millions-of-plays-for-kanye-west-and-beyonc\" target=\"_blank\" rel=\"noopener\">faked\u003c/a> hundreds of millions of plays on Beyoncé’s \u003cem>Lemonade\u003c/em> and Kanye West’s \u003cem>The Life of Pablo\u003c/em>.\u003c/p>\n\u003cp>That paper, \u003cem>Dagens Naeringsliv\u003c/em> (\u003cem>DN\u003c/em>), published its original findings on May 9. \u003cem>DN\u003c/em> says it was surreptitiously given hard drive that contained internal Tidal play data, and worked with researchers at the Norwegian University of Science and Technology who analyzed the hard drive logs\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>A lawyer for Tidal named Jordan W. Siev told the Norwegian paper that he believes the data was stolen, and that “\u003cem>DN\u003c/em> exhibits complete lack of understanding of the data.” Moreover, Tidal denies that any play data has been manipulated, or that any royalty structures have changed.\u003c/p>\n\u003cp>On Monday, a team of \u003cem>DN\u003c/em> journalists published a trio of follow-up stories. In one of those reports, \u003cem>DN\u003c/em> purports to \u003ca href=\"https://www.dn.no/etterBors/2018/05/13/1828/Musikk/tidal-senket-artistenes-utbetalinger\">show\u003c/a> that in the past year, Tidal has lowered payments to labels\u003cstrong> \u003c/strong>from 62.5 percent to 55 percent, without renegotiating terms. (The company has, since launching, billed itself as the streaming platform that pays the most to creators; \u003cem>DN\u003c/em> says that a 55 percent payout puts Tidal on equal footing with Spotify and Apple Music’s terms.) Daniel Nordgård, the chair of GramArt, the Norwegian musicians’ association, called the situation “a complete breach of trust.”\u003c/p>\n\u003cp>Tidal is co-owned by a consortium of high-powered recording artists, including the two artists whose streaming plays were allegedly manipulated — Jay-Z’s wife, Beyoncé, and Kanye West — as well as Rihanna, Nicki Minaj, Daft Punk, Jack White, Arcade Fire and others; in early 2017, Sprint bought a 33 percent stake in the company for $200 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement last week, Tidal attempted to discredit the Norwegian media outlet, saying: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer.’ We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.”\u003c/p>\n\u003cp>Nevertheless, several Scandinavian organizations have decided to take action based on \u003cem>DN\u003c/em>‘s reporting. TONO, the Norwegian collection society for composers, lyricists and music publishers, has filed a report with Okokrim, Norway’s prosecuting and police authority that is charged with fighting economic and environmental crime. Koda, Tono’s sister organization in Denmark, announced on Monday that it is demanding an independent audit of Tidal’s numbers. GramArt, the professional musicians’ association in Norway, also demanded an audit of Tidal’s data and says that if payouts have been withheld, it will be seeking money from Tidal on behalf of its members.\u003c/p>\n\u003cp>In addition, the Norwegian arm of the International Federation of the Phonographic Industry (IFPI) has announced that it will be reviewing the Norwegian albums and singles charts, which rely on Nielsen SoundScan data and are published weekly in the newspaper \u003cem>VG\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tidal did not respond immediately to NPR’s requests for comment on Monday. Both Sony and Universal, which released or distributed the Beyoncé and Kanye West albums, declined to comment to NPR last week about the original \u003cem>DN\u003c/em> report. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Criminal+Complaints+And+Industry+Investigations+Target+Tidal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé",
"headTitle": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé | KQED",
"content": "\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A newspaper in Norway says it got a hold of internal data from the streaming service, which showed that 90 percent of users had unknowingly been playing songs from 'Lemonade' and 'The Life of Pablo.'",
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"title": "Tidal Accused of Faking Hundreds of Millions of Plays for Kanye West and Beyoncé | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s \u003cem>Lemonade \u003c/em>and Kanye West’s \u003cem>The Life of Pablo\u003c/em> were always bound to be overwhelmingly successful albums — returns after relatively long absences from two of the world’s most well-known artists. But Tidal, the streaming service \u003ca href=\"https://www.hollywoodreporter.com/news/jay-z-gets-streaming-56-768546\">purchased by Jay-Z\u003c/a> in January 2015 and introduced to the public just two months later in \u003ca href=\"https://www.billboard.com/articles/news/6509498/jay-z-tidal-launch-artist-stakeholders\" target=\"_blank\" rel=\"noopener\">a celebrity-stacked event\u003c/a>, has been accused of artificially inflating the play counts of both, according to a lengthy investigation by the Norwegian newspaper \u003cem>Dagens Nærengsliv\u003c/em>. Both artists \u003ca href=\"http://tidal.com/soc\" target=\"_blank\" rel=\"noopener\">are “artist-owners”\u003c/a> of the company.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.dn.no/staticprojects/special/2018/05/09/0600/dokumentar/strommekuppet/?_\" target=\"_blank\" rel=\"noopener\">its piece\u003c/a>, \u003cem>Dagens Nærengsliv\u003c/em> says it was surreptitiously given a hard drive containing internal company play data, billions of lines of it, spread across dozens of files, ostensibly covering 65 days of streaming on the platform. The data is said to have covered streams between two periods: Jan. 21 through Mar. 3, 2016, and Apr. 18 through May 9, 2018.\u003c/p>\n\u003cp>The paper found evidence of certain users having streamed the two albums a surprising amount — 15 plays of \u003cem>Lemonade\u003c/em>, in full, in one one day, by one person. The paper interviewed that person, a 34-year-old Washington, D.C., law student, to ask if she could verify that the plays were hers. “I love Beyoncé — but 11 hours? No,” she told \u003cem>Dagens Nærengsliv\u003c/em>.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/7317826/tidal-three-million-global-subscribers-kanye-west-pablo-streams\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> by Tidal last year claimed \u003cem>The Life of Pablo\u003c/em> was streamed 250 million times in the first 10 days it was available. It also claimed last year to have 3 million subscribers, meaning each user played the record 83 times. Before those numbers were released, West was said to have requested his streaming numbers from the platform be withheld. A different \u003ca href=\"https://www.dn.no/staticprojects/special/2017/01/20/1100/musikk/project-panther/\" target=\"_blank\" rel=\"noopener\">investigative piece\u003c/a> published by the paper last year also accused Tidal of inflating its subscriber numbers in public statements.\u003c/p>\n\u003cp>In total, it accuses Tidal of fabricating 320 million “false” streams. Because of the way streaming revenues are distributed, the effect of drastically inflating two albums’ listen counts is to apportion more revenue toward those albums and away from others, in what’s called a “pro rata” (in proportion) distribution system. This means smaller artists are, in a way, pitted against the most successful artists in the world for pieces of a finite pie — and the large artists, for the most part, receive a disproportionate cut of the revenue. (For a more detailed explanation, several Finnish music organizations conducted \u003ca href=\"https://www.fim-musicians.org/wp-content/uploads/prorata-vs-user-centric-models-study-2018.pdf\" target=\"_blank\" rel=\"noopener\">a study\u003c/a> of the model used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this means that if the data were manipulated — whether Tidal itself or the intermediary who gave it to them — wanted Beyoncé and Kanye to actually receive, or appear to receive, an outsized portion of the service’s revenues. Despite that, Tidal \u003ca href=\"http://tidal.com/soc/\">says\u003c/a> it provides “the highest compensation to artists and are consistent in our approach regardless of whether an artist is on a major label or independent.”\u003c/p>\n\u003cp>The stakes are higher than ever, now that streaming is the dominant source of revenue for the recording industry.\u003c/p>\n\u003cp>Sony Music and Universal Music Group, which either released or distributed the albums, declined requests for comment on the report. Tidal issued a strongly worded statement on the situation:\u003c/p>\n\u003cblockquote>\n\u003cp>This is a smear campaign from a publication that once referred to our employee as an “Israeli Intelligence officer” and our owner as a “crack dealer.”\u003c/p>\n\u003c/blockquote>\n\u003cblockquote>\n\u003cp>We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously.\u003c/p>\n\u003c/blockquote>\n\u003cp>A request for \u003cem>Dagens Nærengsliv\u003c/em>‘s response to Tidal’s accusations was not returned.\u003c/p>\n\u003cp>The paper also gave the data, after anonymizing it, to the Norwegian University of Science and Technology to look for anomalous behavior by Tidal’s users. Its \u003ca href=\"https://cdn.mbw.44bytes.net/files/2018/05/NTNU_DigitalForensicsReport_DN_Final_Version.pdf\" target=\"_blank\" rel=\"noopener\">report\u003c/a> says that, after analyzing the data in nine separate ways for strange, non-human listening patterns, “there has in fact been a manipulation of the data at particular times. The manipulation appears targeted towards a very specific set of track IDs, related to two distinct albums.” The school’s investigators found that the data was manipulated in a way that is “hard to detect.” It found that over 90 percent of the platform’s users were affected by the manipulation.\u003c/p>\n\u003cp>In an email to NPR, NTNU maintained the data had been manipulated, but “cannot, based on the data provided to us, determine the source of the manipulation.”\u003c/p>\n\u003cp>“It speaks to the broader industry-wide issue with streaming — when it’s dependent on data, its vulnerable to fraud or accusations of fraud,” Kevin Erickson, a director of artist advocacy group the Future of Music Coalition, tells NPR. “When we’re shifting towards an economy where the allocation of revenue is dependent on the quality of the data, this incredible volume of data, at the same time that individualized data is a commodity — listener data for advertising, for example — it incentivizes bad behavior.”\u003c/p>\n\u003cp>Examples of people manipulating the opaque, and often misunderstood economy of music streaming aren’t hard to find. This year, a group of clever Bulgarians \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">reportedly\u003c/a> made hundreds of thousands of dollars through a byzantine, and technically legal, manipulation of Spotify’s payout system. (That scam reignited a \u003ca href=\"http://musically.com/2018/02/22/mmf-calls-new-user-centric-licensing-debate-spotify-bulgarian-scam/\" target=\"_blank\" rel=\"noopener\">debate\u003c/a> around the structure of these systems.) It’s been common knowledge \u003ca href=\"https://www.billboard.com/articles/business/6670475/playola-promotion-streaming-services\" target=\"_blank\" rel=\"noopener\">for years\u003c/a> that artists or labels can purchase slots on playlists — another technically legal practice — in what’s referred to as “playola,” a reference to the practice of music promoters paying radio DJs to spin singles (which \u003cem>is\u003c/em> illegal).\u003c/p>\n\u003cp>“We support full transparency to better educate consumers and stakeholders, and encourage all music industry stakeholders to embrace open communication about the cost of their services,” Tidal’s mission statement \u003ca href=\"http://tidal.com/soc/\" target=\"_blank\" rel=\"noopener\">reads\u003c/a>, in part.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transparency can help with all of this,” Kevin Erickson says. “We need a baseline transparency to understand what’s going on, but what we really need is regulatory oversight.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tidal+Accused+Of+Faking+Hundreds+Of+Millions+Of+Plays+For+Kanye+West+And+Beyonc%C3%A9&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Grace Cathedral in San Francisco to Host 'Beyoncé Mass'",
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"content": "\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Beyoncé and Jay-Z in Santa Clara",
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"content": "\u003cp>Nothing Beyoncé and Jay-Z do is an accident. After Bey’s audiovisual album \u003cem>Lemonade\u003c/em> sparked rumors of Jay-Z cheating in 2016, fans were left to wonder about the state of their favorite power couple’s marriage. Jay clued them in with last year’s \u003cem>4:44\u003c/em>, a hyper-confessional release that detailed his struggles with infidelity and how the couple overcame them.\u003c/p>\n\u003cp>Both albums topped charts and left fans and critics wanting more. But other than in song, Beyoncé and Jay-Z famously remained tight-lipped about their personal business, leaving fans desperately analyzing every public appearance and Instagram post.\u003c/p>\n\u003cp>Now, the saga’s next chapter plays out on Beyoncé and Jay-Z’s just-announced On the Run Tour II, or ‘\u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">OTRII\u003c/a>,’ whose title nods at the couple’s On the Run tour from 2014.\u003c/p>\n\u003cp>https://youtu.be/uouJWnfCjeo\u003c/p>\n\u003cp>OTRII hits Levi’s Stadium in Santa Clara on \u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">Sept. 29\u003c/a>, and there are a few ways to get tickets before they go on sale to the general public on Mar. 19. On Mar. 14, there’s a Beyhive fan presale at 9am; you can register for it \u003ca href=\"https://www.beyonce.com/presale/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Ticketmaster’s Official Platinum and VIP presales start on Mar. 14 at 9am also.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Citi Cardmember presale starts on Mar. 14 at noon (you must purchase tickets with a Citi card), and Live Nation has a presale on their app and website on Mar. 16 at 9am with the code “ENCORE.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"excerpt": "We've got presale codes and other early ticket options for the power couple's Sept. 29 show at Levi's Stadium. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing Beyoncé and Jay-Z do is an accident. After Bey’s audiovisual album \u003cem>Lemonade\u003c/em> sparked rumors of Jay-Z cheating in 2016, fans were left to wonder about the state of their favorite power couple’s marriage. Jay clued them in with last year’s \u003cem>4:44\u003c/em>, a hyper-confessional release that detailed his struggles with infidelity and how the couple overcame them.\u003c/p>\n\u003cp>Both albums topped charts and left fans and critics wanting more. But other than in song, Beyoncé and Jay-Z famously remained tight-lipped about their personal business, leaving fans desperately analyzing every public appearance and Instagram post.\u003c/p>\n\u003cp>Now, the saga’s next chapter plays out on Beyoncé and Jay-Z’s just-announced On the Run Tour II, or ‘\u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">OTRII\u003c/a>,’ whose title nods at the couple’s On the Run tour from 2014.\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/uouJWnfCjeo'\n title='//www.youtube.com/embed/uouJWnfCjeo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>OTRII hits Levi’s Stadium in Santa Clara on \u003ca href=\"https://www1.ticketmaster.com/jayz-and-beyonce-otr-ii-santa-clara-california-09-29-2018/event/1C0054688C6B43AF?artistid=781009&\" target=\"_blank\" rel=\"noopener\">Sept. 29\u003c/a>, and there are a few ways to get tickets before they go on sale to the general public on Mar. 19. On Mar. 14, there’s a Beyhive fan presale at 9am; you can register for it \u003ca href=\"https://www.beyonce.com/presale/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Ticketmaster’s Official Platinum and VIP presales start on Mar. 14 at 9am also.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Citi Cardmember presale starts on Mar. 14 at noon (you must purchase tickets with a Citi card), and Live Nation has a presale on their app and website on Mar. 16 at 9am with the code “ENCORE.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"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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"meta": {
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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",
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"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": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"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"
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},
"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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"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.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"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",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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",
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"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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"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": {
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"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",
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