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"slug": "review-olivia-rodrigo-san-francisco-chase-center-guts-tour",
"title": "Review: Olivia Rodrigo Leads the Choir, Literally, in San Francisco",
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"content": "\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "megan-thee-stallion-stans-hotties-election-biden-trump-san-francisco",
"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates",
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"headTitle": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]M[/dropcap]egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n",
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"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo",
"title": "Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party",
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"headTitle": "Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>[aside postID='forum_2010101892062'] As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>[aside postID='arts_13831858']Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Rogers has \u003ca href=\"https://shop.maggierogers.com/pages/tour\">announced a tour\u003c/a> for her new album \u003cem>Don’t Forget Me\u003c/em>, and she’s letting fans have their first crack at tickets the old-fashioned way: by waiting in line, in person. \u003c/p>\n\u003cp>Here in San Francisco, that means \u003ca href=\"https://shop.maggierogers.com/pages/tour-box-office\">tickets ($39.50–$139.50) to Rogers’ Nov. 1, 2024 show at Chase Center will go on sale at the Chase Center box office\u003c/a> on Saturday, April 20, at 10 a.m., before becoming available online the following week.\u003c/p>\n\u003cp>This is a beautiful thing, and not just for old-school nostalgists who romanticize the fun of waiting in line with other fans for tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> As you’ve probably noticed, online ticketing for major concerts is completely broken and exploited by opportunists. So much so that any artist who cares about their fans should follow Rogers’ lead and offer early in-person ticket sales.\u003c/p>\n\u003cp>How many times have you gone online and selected tickets, only to have them removed from your cart and then re-offered at a much higher price due to “dynamic pricing”? How many times have you gotten your “verified fan” code and tried to buy tickets right at 10 a.m., and bots and scalpers have already bought 90% of the available seats to re-sell them at three or four times face value? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I could go on and on. Captchas, pull-down menus, “convenience” fees and “facility” fees that add up to 50% or more onto the face value ticket price, the phasing out of printed tickets, the \u003ca href=\"https://www.kqed.org/arts/13925510/senators-are-calling-on-the-justice-department-to-look-into-ticketmasters-practices\">Department of Justice’s refusal to break up the Ticketmaster-Live Nation monopoly\u003c/a>, the persistent stories of ticket agencies, venues and artists themselves all \u003ca href=\"https://www.kqed.org/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report\">scalping their own tickets\u003c/a>.\u003c/p>\n\u003cp>Maggie Rogers, heroine of the people, said \u003cem>the hell with that — there’s gotta be a better way\u003c/em>. She began selling tickets in person “to combat bots and reduce fees,” as she said in \u003ca href=\"https://www.instagram.com/p/C5oQRo8LY7F/\">an Instagram announcement\u003c/a> today, and “it was so successful and so fun that I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other artists have gone the in-person ticketing route in San Francisco before. \u003ca href=\"https://www.kqed.org/arts/13831858/nine-inch-nails-in-person-ticket-policy-is-beautiful\">Nine Inch Nails did it for their show at the Bill Graham Civic Auditorium\u003c/a> in 2018, and \u003ca href=\"https://www.marketplace.org/2010/08/25/bob-dylan-concert-tickets-cash-only/\">Bob Dylan charged $60 at the door\u003c/a>, cash only, for his show at the Warfield in 2010. \u003c/p>\n\u003cp>Both Pearl Jam and the Cure have famously tried to change the system from within, with \u003ca href=\"https://www.kqed.org/arts/13926475/robert-smith-the-cure-ticketmaster-partial-refunds-lower-fees\">varying success\u003c/a>. Rogers, meanwhile, is showing up to sell tickets in person in New York, Philadelphia, Boston and Chicago — and playing special shows in those cities for what she’s calling “Box Office Week.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows what kind of deal Rogers had to make with Ticketmaster to pull this off — and for an arena tour, no less — but her commitment here constitutes hall-of-fame public service. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center",
"headTitle": "Live Review: Bad Bunny Gets in His Feels at San Francisco’s Chase Center | KQED",
"content": "\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13953284']Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As long as Bad Bunny keeps wearing his heart on his sleeve, fans will keep coming back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If I hadn’t known Bad Bunny was headlining at the Chase Center on Saturday night, I would have sworn, judging by the fans heading inside, that I was at an Eslabon Armado or Grupo Firme show. In force were thick jean jackets, cowboy hats, cowboy boots — and I’m not talking about just any boots, but \u003cem>botas\u003c/em> with full embroidery and bling.\u003c/p>\n\u003cp>I’d never seen a ranchero aesthetic showing up so strongly for a reggaeton artist. It proved that Bad Bunny has fulfilled the promise of his latest album, \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, by seamlessly bringing together a multiplicity of genres — banda, trap, dembow, Jersey club — with his irresistible looks and style.\u003c/p>\n\u003cfigure id=\"attachment_13953309\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-46_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their hats outside the Chase Center before Bad Bunny’s concert in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After an intro by a live orchestra (violins, cellos, brass and all), Benito rose from the floor on a second stage, hidden in a cloud of smoke. Opening with the somber new track “Nadie Sabe,” he leaned on the mic in a dark jacket and black Dodgers cap, with no backup dancers — just the man and the stage. (Regardless of how many chart-breaking summer anthems he cranks out year after year, El Conejo Malo keeps true to his sadboy side.)\u003c/p>\n\u003cp>It wasn’t until the second song, “Monaco,” that backup dancers arrived. But just like Bad Bunny, they wore simple black clothing, and kept their choreography low-key. In contrast with his previous tour, which was all about having a big, colorful summer party on the beach (oh, to be back in May 2022 and hear \u003cem>Un Verano Sin Ti\u003c/em> for the first time again), the Benito on this year’s Most Wanted Tour is a whole different person: serious, mature, grounded. I’ll add mysterious, too; for much of the show, Benito kept his face obscured, at one point donning a ski mask and sunglasses.\u003c/p>\n\u003cfigure id=\"attachment_13953305\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-7_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the show was dedicated to tracks from \u003cem>Nadie Sabe Lo Que Va a Pasar Mañana\u003c/em>, like “Fina” and “Where She Goes.” (Unfortunately for the fans in their ranchero fits, only a snippet appeared of “un x100to,” which features Mexican regional band Grupo Frontera.) Benito’s love for trap had the spotlight, and it wasn’t until the second half of the show that he performed the perreo anthems of years past. As “La Santa” and “Me Porto Bonito” came paired with fireworks, lasers, fog machines and thousands of LED lights from necklaces distributed to fans before the show, the stage became the center of what felt like the biggest club in the world — think Coco Bongo Cancún.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mind you, it was still a club with \u003cem>showmanship\u003c/em>. To open the second act of his set, Benito entered the stage on a horse. It was the first time I’d ever seen a reggaetonero perform with a horse, and brought me flashbacks to \u003ca href=\"https://www.youtube.com/watch?v=pXRYAp00yhw\">Joan Sebastian singing on a horse in his jaripeos\u003c/a>. This aligns with the idea of the tour: that Benito is a lone horseman on the run, “most wanted” after breaking the law.\u003c/p>\n\u003cp>But I couldn’t help but ask myself: \u003cem>What is he on the run from? What force is threatening this man?\u003c/em> After all, Benito is no longer the up-and-coming rookie teased by other reggaetoneros for his painted nails and earrings — Bad Bunny \u003cem>is\u003c/em> the face of reggaeton now to a global audience. His market success and impact on younger artists stands on par with legends of the genre like Ivy Queen and Plan B.\u003c/p>\n\u003cfigure id=\"attachment_13953306\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-27_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Benito, however, gave several interpretations of what it means to be “Most Wanted.” When he reached “Baticano,” he paused to talk to the audience. “Es imposible creer que este lugar se llenó con tanta gente,” he said — “It’s impossible to believe that this whole place is filled up with so many people.”\u003c/p>\n\u003cp>With just a few lights on stage, Benito started reflecting out loud: “Yo estoy siempre seguro que quizás muchos de ustedes aquí en esta noche están pasando por una situación sufrida, una situación un poco difícil … pero aun así vinieron aquí y dejaron los problemas afuera un poco para estar conmigo,” he said, nearly drowned out by the sound of thousands of fans cheering. “I am always sure that many of you here tonight are going through tough, difficult situations … but despite that, you came here, left your problems for a bit, to come here and be with me.”\u003c/p>\n\u003cp>“Yo se los agradezco mucho … ustedes también me hacen sentir mejor,” he added. “I deeply thank you … all of you make me feel better as well.”\u003c/p>\n\u003cfigure id=\"attachment_13953308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-35_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny performs at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Important to remember is that this tour comes after Bad Bunny shared that he was “\u003ca href=\"https://www.billboard.com/video/bad-bunny-talks-about-touring-taking-a-break-reflects-on-his-journey-to-the-top-and-more-billboard-cover/\">taking a break\u003c/a>” to focus on himself at the end of 2022. In 2023, he came under scrutiny after a video went viral that showed him \u003ca href=\"https://www.rollingstone.com/music/music-latin/bad-bunny-response-throwing-fan-phone-1234655208/\">grabbing and tossing away a fan’s phone\u003c/a>. And last December, he and Kendall Jenner \u003ca href=\"https://people.com/bad-bunny-kendall-jenner-split-source-8402569\">ended their relationship\u003c/a> — a union that was \u003ca href=\"https://www.vanityfair.com/style/2023/09/bad-bunny-on-sex-social-media-and-kendall-jenner\">criticized by fans\u003c/a> who felt it was “a form of cultural betrayal.” All told, 2023 was the year \u003cem>everyone\u003c/em> had an opinion on \u003cem>everything\u003c/em> Bad Bunny said and did.\u003c/p>\n\u003cp>“Most Wanted” could also represent the pressure that comes with being a global icon, when everyone, fans and haters alike, feel like they know who you are. As if to answer to this, in a clip shown on massive screens between songs, Benito’s voice intones: “Yo sé quién soy.” “I know who I am.”\u003c/p>\n\u003cfigure id=\"attachment_13953310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-53_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An orchestra plays during Bad Bunny’s performance at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fans I met loved seeing Bad Bunny fully claim himself. Karla de la Fuente came all the way from Texas to see the show with Bay Area friends, and despite being a longtime fan, she confessed that she felt a bit unsure about Benito this time around, citing the fan cell phone incident and the Kendall Jenner relationship. After the show, she said that Benito won her heart once more.\u003c/p>\n\u003cp>“When he spoke to the crowd that we are all going through difficult moments but can pause to be together and dance,” she said, “he struck a chord.”\u003c/p>\n\u003cfigure id=\"attachment_13953324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13953324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Bad-Bunny-45_qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends show off their boots outside Bad Bunny’s concert at the Chase Center in San Francisco on Saturday, March 2, 2024. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of whichever new genre Bad Bunny dabbles in, whether he dresses up as a ranchero one day and a tropical cyberpunk the day after, he brings a characteristic sense of vulnerability. It’s what marks his contribution to the genre: being a baddie but openly expressing his emotions, be it heartbreak, anger, joy or loneliness. The man is eternally in his feels.\u003c/p>\n\u003cp>“I always appreciate that aspect of him,” said Vannesa Gurrola, who came to the show from East Palo Alto, “because I’m someone who is learning to express their feelings and have always used music to try to figure that out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As long as Bad Bunny keeps wearing his heart on his sleeve, fans will keep coming back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "warriors-championship-a-new-rookie-emerges",
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"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, still awash in excitement over the Warriors’ victory, writer Alan Chazaro has an important next-season draft pick to share.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ut of this year’s worth of events, Thursday, June 16, might seem like an arbitrary date to remember. But it’s a day that still lingers in my body — and one that will define the dimensions of joy and hope in my life moving forward.\u003c/p>\n\u003cp>It began like any great day for a true Baydestrian: with the Steph Curry-led Warriors taking on the Boston Celtics in Game Six of the 2022 NBA Finals. To understand the weight of this, you must first understand my life as a loyal, non-bandwagon member of Dub Nation, through decades of ridicule and shame when the team would regularly finish as the cellar dwellers of the league. Back when they played at Oracle Arena. Back when the Bay Area felt like a different home, and my teenage self had yet to discover what home really meant to me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Alan.Chazaro.bio_.headshot.jpg\" alt=\"\" width=\"160\" height=\"181\">But this particular Thursday in June was different. The Warriors were gearing up to claim their fourth Larry O’Brien trophy amid a dynastic run of championship grandeur. It was jolting. It was surreal. And despite the doubting, shit-talking and excuse-making from sports media and internet trolls who had dismissed the Warriors all season (or perhaps, because of it), this day felt particularly glorious for OG fans like myself.\u003c/p>\n\u003cp>And still, the game wasn’t even my primary focus. For months, my wife and I had been planning our own little dynasty. After nearly 15 years together — having met in a Chicano Studies class at UC Berkeley as undergrads — we had decided to add a new team member to our squad, and were in the process of trying for our first child.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I couldn’t have asked for a better scenario on that Thursday morning. Briana called me into the room to share the news: a positive pregnancy test laid on top of a Warriors onesie. Our child had decided to announce himself that day, as the Warriors were on the verge of hoops history. I cried. Because this wasn’t \u003cem>just\u003c/em> a happy ending for the Warriors, a basketball entity that had been a part of my life since grade school. This was the beginning of a beautiful future: Maceo Agosto Chazaro.\u003c/p>\n\u003cp>The Dubs ended up winning it all. My wife and I took BART to San Francisco to be at Chase Center with the fans, just a few hours after we’d learned our baby was growing inside her belly. Though the actual game was happening in Boston, we gathered in front of the Warriors’ arena as the last shot splashed and the celebratory drinks poured (my wife, of course, abstaining). That day felt bigger than a championship. It still does.\u003c/p>\n\u003cfigure id=\"attachment_13922123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kids.Warriors.Chase_-800x521.jpg\" alt=\"Two small children in Warriors gear laugh with their mother nearby in a crowd of sports fans\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-1536x999.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids play outside Chase Center on June 13, 2022, as the Golden State Warriors win the NBA Finals. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back on it, I recall what it is that’s always drawn me to the sport — especially as a Mexican American who grew up in an all-male home with my father and older brother. Basketball taught me about myself and what it takes to overcome, even when the odds seem insurmountable. It was never just about scoring on a fast-break dunk or making flashy dribbles. It was about chemistry; about communication; about the synergy of watching humans working in synchronized perfection to reach a collective apex; about rebuilding and trying again. At its best, a sports team can represent an entire region’s pride and identity, like a family’s last name.\u003c/p>\n\u003cp>When I think of baby Chazaro entering the world, I wonder how he’ll fit into the rhythm and structure of our unit. How we’ll have to adapt, and apply everything we know in order to coach him up. How our fun-sized rookie will develop his own skills and talents as we provide a healthy environment for him to thrive into his full potential.\u003c/p>\n\u003cp>There will be turnovers. There will be miscommunications. There will be losses. Hella losses — particularly a loss of sleep, as I’ve been told by other parents. But I doubt that will really matter when those moments of joy, growth and achievement are finally reached.\u003c/p>\n\u003cp>I won’t ever know exactly what those players felt in that locker room on the night they banded together to win it all. But I’ll always remember the feeling of euphoria and limitless possibility that coursed through me on that June day, when Briana and I realized we’d taken the biggest shot of our lives. As a team.\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/app/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>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, still awash in excitement over the Warriors’ victory, writer Alan Chazaro has an important next-season draft pick to share.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ut of this year’s worth of events, Thursday, June 16, might seem like an arbitrary date to remember. But it’s a day that still lingers in my body — and one that will define the dimensions of joy and hope in my life moving forward.\u003c/p>\n\u003cp>It began like any great day for a true Baydestrian: with the Steph Curry-led Warriors taking on the Boston Celtics in Game Six of the 2022 NBA Finals. To understand the weight of this, you must first understand my life as a loyal, non-bandwagon member of Dub Nation, through decades of ridicule and shame when the team would regularly finish as the cellar dwellers of the league. Back when they played at Oracle Arena. Back when the Bay Area felt like a different home, and my teenage self had yet to discover what home really meant to me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Alan.Chazaro.bio_.headshot.jpg\" alt=\"\" width=\"160\" height=\"181\">But this particular Thursday in June was different. The Warriors were gearing up to claim their fourth Larry O’Brien trophy amid a dynastic run of championship grandeur. It was jolting. It was surreal. And despite the doubting, shit-talking and excuse-making from sports media and internet trolls who had dismissed the Warriors all season (or perhaps, because of it), this day felt particularly glorious for OG fans like myself.\u003c/p>\n\u003cp>And still, the game wasn’t even my primary focus. For months, my wife and I had been planning our own little dynasty. After nearly 15 years together — having met in a Chicano Studies class at UC Berkeley as undergrads — we had decided to add a new team member to our squad, and were in the process of trying for our first child.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I couldn’t have asked for a better scenario on that Thursday morning. Briana called me into the room to share the news: a positive pregnancy test laid on top of a Warriors onesie. Our child had decided to announce himself that day, as the Warriors were on the verge of hoops history. I cried. Because this wasn’t \u003cem>just\u003c/em> a happy ending for the Warriors, a basketball entity that had been a part of my life since grade school. This was the beginning of a beautiful future: Maceo Agosto Chazaro.\u003c/p>\n\u003cp>The Dubs ended up winning it all. My wife and I took BART to San Francisco to be at Chase Center with the fans, just a few hours after we’d learned our baby was growing inside her belly. Though the actual game was happening in Boston, we gathered in front of the Warriors’ arena as the last shot splashed and the celebratory drinks poured (my wife, of course, abstaining). That day felt bigger than a championship. It still does.\u003c/p>\n\u003cfigure id=\"attachment_13922123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kids.Warriors.Chase_-800x521.jpg\" alt=\"Two small children in Warriors gear laugh with their mother nearby in a crowd of sports fans\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-1020x664.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_-1536x999.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kids.Warriors.Chase_.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids play outside Chase Center on June 13, 2022, as the Golden State Warriors win the NBA Finals. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back on it, I recall what it is that’s always drawn me to the sport — especially as a Mexican American who grew up in an all-male home with my father and older brother. Basketball taught me about myself and what it takes to overcome, even when the odds seem insurmountable. It was never just about scoring on a fast-break dunk or making flashy dribbles. It was about chemistry; about communication; about the synergy of watching humans working in synchronized perfection to reach a collective apex; about rebuilding and trying again. At its best, a sports team can represent an entire region’s pride and identity, like a family’s last name.\u003c/p>\n\u003cp>When I think of baby Chazaro entering the world, I wonder how he’ll fit into the rhythm and structure of our unit. How we’ll have to adapt, and apply everything we know in order to coach him up. How our fun-sized rookie will develop his own skills and talents as we provide a healthy environment for him to thrive into his full potential.\u003c/p>\n\u003cp>There will be turnovers. There will be miscommunications. There will be losses. Hella losses — particularly a loss of sleep, as I’ve been told by other parents. But I doubt that will really matter when those moments of joy, growth and achievement are finally reached.\u003c/p>\n\u003cp>I won’t ever know exactly what those players felt in that locker room on the night they banded together to win it all. But I’ll always remember the feeling of euphoria and limitless possibility that coursed through me on that June day, when Briana and I realized we’d taken the biggest shot of our lives. As a team.\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/app/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": "Björk's Musical World Meets a Planet in Peril at Chase Center",
"headTitle": "Björk’s Musical World Meets a Planet in Peril at Chase Center | KQED",
"content": "\u003cfigure id=\"attachment_13909066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.main_.jpg\" alt=\"Bjork, in a dress of white puff balls, dances in front of a curtain of ribbon\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s elaborate production ‘Cornucopia’ brought the future of the planet in stark relief n Friday night at the Chase Center. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would give anything to go back in time and see Duke Ellington. Even in the later years, after famous members of his orchestra members had left. Even if he weren’t performing any hits at all. I would love to see Duke Ellington because everything Ellington played contained his distinct, singular vision. There’s even a term for it: \u003ca href=\"http://www.ellingtonia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ellingtonia\u003c/a>.\u003c/p>\n\u003cp>I thought of Duke Ellington on Friday night while watching Björk’s \u003cem>Cornucopia\u003c/em> at the Chase Center in San Francisco. Across the 100-minute production, she played no “hits,” and just two songs from the 1990s, the decade that the general public (and Billboard charts) most associate with her imaginative videos and singles. Instead, what transpired onstage was something better: \u003cem>Cornucopia\u003c/em> is the most expansive, extravagant outgrowth to date of Björk’s intricately honed creative voice. At this point, her output deserves its own descriptor, its own “Ellingtonia,” because there is clearly nobody on the planet who can do what Björk does.\u003c/p>\n\u003cfigure id=\"attachment_13909068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg\" alt=\"A woman plays a bass flute on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s seven-piece flute ensemble, Viibra, brought new textures to her material. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a setlist pulling mostly from the 2017 album \u003cem>Utopia\u003c/em>, the concert is music, fashion, art film, theater and symposium all in one. The songs featured electronics, percussion, harp, the Icelandic flute septet Viibra, and the occasional water bowl. The stage set resembled mushrooms, and the projections alternated between sea coral forms and root systems.\u003c/p>\n\u003cp>If this sounds like the soundtrack to a nature documentary, well, the show is certainly that, too, although one that’s realistic about the future of the planet if mankind continues on its destructive path. (It \u003ca href=\"https://www.livenation.com/event/G5vYZpVpiq0tX/bjork-cornucopia\" target=\"_blank\" rel=\"noopener noreferrer\">repeats on Tuesday, Feb. 8\u003c/a>, at the Chase Center.)\u003c/p>\n\u003cp>\u003cem>Cornucopia\u003c/em> opened with a stirring 10-minute invocation by the 18-piece Los Angeles choir \u003ca href=\"https://ourtonality.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Tonality\u003c/a>; the text of which drew from Greta Thunberg’s speech at the U.N.’s Climate Action Summit: “We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth / How dare you!”\u003c/p>\n\u003cfigure id=\"attachment_13909069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg\" alt=\"Bjork and an African American singer on stage, both dressed in white\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk performs ‘Blissing Me’ in a duet with serpentwithfeet. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, \u003cem>Cornucopia\u003c/em> is an extension of \u003cem>Biophilia\u003c/em>, the last tour Björk brought to the Bay Area in 2013 at the Craneway Pavilion in Richmond. That show, in the round and narrated by David Attenborough, effused with the wonder of nature and its fragility. That she should return nearly 10 years later with a message more urgent and foreboding is a reminder of how little progress our world leaders have made. Sometimes this manifested in projected messages about the Paris Agreement and the need for a “matriarchal dome” of ecological guardianship; during “Tabula Rasa,” it took the form of Björk singing “Let’s clean up / Break the chain of the fuckups of the fathers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all the show’s didacticism (Thunberg appeared again later in the show, in a prerecorded video message), Björk presented it with such joy for life, continuously dancing carefree in an outfit of large bath lily-type adornments, that it didn’t feel like a lecture. While those in the Chase Center’s high-altitude upper deck would have benefitted from live screens projecting these details in some parts, the medium was the message. The imagination required to save the planet, after all, is the same sort required to conceptualize and build a large four-way flute ring, which was lowered around Björk from the ceiling and played by four members of Viibra during “Body Memory.”\u003c/p>\n\u003cfigure id=\"attachment_13909065\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13909065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg\" alt=\"Bjork in a feathery dress with decorations looking like flower stamens\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Björk sings one of two encores Friday night at the Chase Center in San Francisco. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for those hoping for older material, the night brought other breathtaking moments: Tonality replicating, a capella, the swelling arrangement of \u003cem>Vespertine\u003c/em>‘s “Hidden Place,” or the voice-and-flute duet of \u003cem>Debut\u003c/em>‘s “Venus as a Boy.” During “Isobel,” so many strands of Björk’s vision were present that I wished, once again, for a term like “Ellingtonia” to serve as shorthand for what I was witnessing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In place of shorthand, let us simply call it Björk, and appreciate it while she’s here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13909066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.main_.jpg\" alt=\"Bjork, in a dress of white puff balls, dances in front of a curtain of ribbon\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s elaborate production ‘Cornucopia’ brought the future of the planet in stark relief n Friday night at the Chase Center. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would give anything to go back in time and see Duke Ellington. Even in the later years, after famous members of his orchestra members had left. Even if he weren’t performing any hits at all. I would love to see Duke Ellington because everything Ellington played contained his distinct, singular vision. There’s even a term for it: \u003ca href=\"http://www.ellingtonia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ellingtonia\u003c/a>.\u003c/p>\n\u003cp>I thought of Duke Ellington on Friday night while watching Björk’s \u003cem>Cornucopia\u003c/em> at the Chase Center in San Francisco. Across the 100-minute production, she played no “hits,” and just two songs from the 1990s, the decade that the general public (and Billboard charts) most associate with her imaginative videos and singles. Instead, what transpired onstage was something better: \u003cem>Cornucopia\u003c/em> is the most expansive, extravagant outgrowth to date of Björk’s intricately honed creative voice. At this point, her output deserves its own descriptor, its own “Ellingtonia,” because there is clearly nobody on the planet who can do what Björk does.\u003c/p>\n\u003cfigure id=\"attachment_13909068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg\" alt=\"A woman plays a bass flute on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s seven-piece flute ensemble, Viibra, brought new textures to her material. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a setlist pulling mostly from the 2017 album \u003cem>Utopia\u003c/em>, the concert is music, fashion, art film, theater and symposium all in one. The songs featured electronics, percussion, harp, the Icelandic flute septet Viibra, and the occasional water bowl. The stage set resembled mushrooms, and the projections alternated between sea coral forms and root systems.\u003c/p>\n\u003cp>If this sounds like the soundtrack to a nature documentary, well, the show is certainly that, too, although one that’s realistic about the future of the planet if mankind continues on its destructive path. (It \u003ca href=\"https://www.livenation.com/event/G5vYZpVpiq0tX/bjork-cornucopia\" target=\"_blank\" rel=\"noopener noreferrer\">repeats on Tuesday, Feb. 8\u003c/a>, at the Chase Center.)\u003c/p>\n\u003cp>\u003cem>Cornucopia\u003c/em> opened with a stirring 10-minute invocation by the 18-piece Los Angeles choir \u003ca href=\"https://ourtonality.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Tonality\u003c/a>; the text of which drew from Greta Thunberg’s speech at the U.N.’s Climate Action Summit: “We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth / How dare you!”\u003c/p>\n\u003cfigure id=\"attachment_13909069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg\" alt=\"Bjork and an African American singer on stage, both dressed in white\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk performs ‘Blissing Me’ in a duet with serpentwithfeet. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, \u003cem>Cornucopia\u003c/em> is an extension of \u003cem>Biophilia\u003c/em>, the last tour Björk brought to the Bay Area in 2013 at the Craneway Pavilion in Richmond. That show, in the round and narrated by David Attenborough, effused with the wonder of nature and its fragility. That she should return nearly 10 years later with a message more urgent and foreboding is a reminder of how little progress our world leaders have made. Sometimes this manifested in projected messages about the Paris Agreement and the need for a “matriarchal dome” of ecological guardianship; during “Tabula Rasa,” it took the form of Björk singing “Let’s clean up / Break the chain of the fuckups of the fathers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all the show’s didacticism (Thunberg appeared again later in the show, in a prerecorded video message), Björk presented it with such joy for life, continuously dancing carefree in an outfit of large bath lily-type adornments, that it didn’t feel like a lecture. While those in the Chase Center’s high-altitude upper deck would have benefitted from live screens projecting these details in some parts, the medium was the message. The imagination required to save the planet, after all, is the same sort required to conceptualize and build a large four-way flute ring, which was lowered around Björk from the ceiling and played by four members of Viibra during “Body Memory.”\u003c/p>\n\u003cfigure id=\"attachment_13909065\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13909065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg\" alt=\"Bjork in a feathery dress with decorations looking like flower stamens\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Björk sings one of two encores Friday night at the Chase Center in San Francisco. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for those hoping for older material, the night brought other breathtaking moments: Tonality replicating, a capella, the swelling arrangement of \u003cem>Vespertine\u003c/em>‘s “Hidden Place,” or the voice-and-flute duet of \u003cem>Debut\u003c/em>‘s “Venus as a Boy.” During “Isobel,” so many strands of Björk’s vision were present that I wished, once again, for a term like “Ellingtonia” to serve as shorthand for what I was witnessing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In place of shorthand, let us simply call it Björk, and appreciate it while she’s here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dave Chappelle Offers Surprising Message of Unity in SF Appearance",
"headTitle": "Dave Chappelle Offers Surprising Message of Unity in SF Appearance | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">“Many of you may know this, but I love the Bay Area,” Dave Chappelle told the audience when he first took the stage at the Chase Center for the San Francisco premiere of his film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Untitled\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. “This is where I learned my craft, and Punchline is the first place I came after I left comedy the first time. I want to thank you all for being here tonight.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His anticipated appearance came halfway through the show, after his film finished playing, to a largely receptive crowd of 19,000 people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary takes place during the COVID-19 pandemic’s deadly apex in the summer of 2020. It follows Chappelle, his family and his celebrity friends as they host a series of comedy shows in a Yellow Springs, Ohio, cornfield in hopes of raising the township’s morale.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, which will be shown in 10 North American cities, including the opening in San Francisco on Thursday night, is a mix of humor, poetry and music. It features A-list cameos, racial politics, casual family mingling, generational mentorship, complicated interactions with local government officials and lots of nose-swabbing and pro-vaccination messaging. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fan favorites like Michelle Wolf, Donnell Rawlings, Questlove, Trevor Noah, Jon Stewart, Tiffany Haddish, David Letterman, Erykah Badu and Ali Wong make appearances. And beyond the celebrities, we hear from anonymous locals at a virtual town hall meeting, coffee shop owners and Chappelle’s wife and children—all in a way I have yet to see him do in the past.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a snapshot of a precarious time and place—middle America amid a global health crisis, during a growing movement for racial justice—and how one comedian attempts to bring his people together to provide a therapeutic outlet for the public. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its worst, the film exists as a slightly redundant reminder of the most uncertain and unravelling moments of this pandemic. At its best, it represents a genuine blueprint for how those with social, economic and political clout—like Chappelle and his peers—can provide real spiritual relief for a community in need.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary ends as abruptly as COVID arrived, with the makeshift venue in the film being torn down because of a surge in case numbers. A few of the guest comedians test positive and have to immediately bow out during the making of the film. That’s after multiple weeks of non-stop performances, which the film says produced over $9 million in local revenue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet, it’s all much bigger than a single documentary can deliver, which has arrived at perhaps the worst possible intersection in Chappelle’s storied career, when many national organizations and prominent figures have harshly criticized the comedian’s recent Netflix special for its insensitivity towards the trans community. It’s not something that can be simply overlooked.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Underneath the polarized debates on social media, Black LGBTQ+ people are leading nuanced conversations about how Chappelle has missed the mark by pitting race issues against gender issues, and largely ignoring queer and trans people of color. In the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">San Francisco Chronicle\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, UC Berkeley law professor Russell K. Robinson \u003c/span>\u003ca href=\"https://www.sfchronicle.com/opinion/openforum/article/Call-out-Dave-Chappelle-s-transphobia-but-16590293.php\">\u003cspan style=\"font-weight: 400\">lays out the hardships that LGBTQ+ Black people face\u003c/span>\u003c/a>, and the statistics are undeniable\u003cspan style=\"font-weight: 400\">. Yet even while critiquing Chappelle, he urges us not to ignore the comedian’s points about white gay racism. [aside postid='arts_13904228']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is also Carolyn Wysinger, the board president of San Francisco Pride,\u003c/span>\u003ca href=\"https://www.sfgate.com/culture-columns/article/sf-pride-president-on-dave-chappelle-16575189.php\"> \u003cspan style=\"font-weight: 400\">who wrote a poignant, critical response\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Closer\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I would like to affirm my personal support for the demands made by the Black trans community members who led last week’s Netflix walkout,” Wysinger wrote for SFGATE. “If Netflix is going to continue streaming a program that clearly gives permission to the world to publicly expose harmful beliefs, tropes, and stereotypes of the Black LGBTQ+ community, then Netflix owes that same community the opportunity to tell their stories and combat the hate.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, this conflict is an issue of representation, visibility, awareness, humanization and safety. If Chappelle can retain his global platform to make jokes and share his views about topics of his choice, then LGBTQ+ artists must also receive the same exposure, audience and promotion to express their opinions and truths, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet, Thursday night wasn’t about Chappelle and his fractured relationship to the trans and LGBTQ+ community.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It wasn’t even fully about comedy. In fact—besides the opening act from the night’s host, Jeff Ross, followed by a stand-up performance from Bay Area-raised comedian, Luenell Campbell—there was very little traditional comedy to be had. (Chappelle himself didn’t even perform a full routine, although he did make impromptu jokes during transitions between acts.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, the night surprisingly became a necessary moment for gathering, remembering, laughter and levity. Despite the thick tension surrounding him, Chappelle and his special guests managed to create a sense of joy and familial unity that formed the basis of his film, and which he clearly has a gift for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We didn’t get Talib Kweli or John Mayer, though. Rather, Bay Area fans were treated to medicinal doses of Goapele and Raphael Saadiq, and the raw energy of Too $hort, Lil’ Jon, and E-40 sharing a stage. (Sadly, cameras were not allowed.) After each legendary individual’s performance, they stood side by side behind Chappelle while he delivered some closing words. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Take care of one another, look out for one another,” he urged the crowd with sincerity. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the evening, he jokingly alluded to being “cancelled” but also said he didn’t care, as if the controversy was just in the media and not the reality of the matter. The truth of that is certainly doubtful, since there seems to be an undeniable outcry and sense of hurt coming from many LGBTQ+ viewers of color, and that must be acknowledged. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In doubling down, I don’t believe Chappelle is going about the situation in the best way, and his documentary—which he says has been pulled from various festivals and venues—is certainly debuting at an unfavorable time for him. But I also don’t believe pulling his specials or cancelling appearances, as some critics have called for, does anyone good. I attended his premiere specifically to hear him directly, and to feel the energy he was projecting into the crowd. And my takeaway, from my personal experience and from what I felt all around me—from people of all ages, cultures, genders, heights, styles, economic backgrounds and so forth—was a feeling of unison, if only for those few hours we sat together. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps more than attending a film screening or wading in the ocean of commentary on this subject, shifting our collective attention towards voices beyond those in mainstream media—like San Francisco-based trans poet,\u003c/span>\u003ca href=\"https://calcalamia.com/\"> \u003cspan style=\"font-weight: 400\">Cal Calamia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, as one example—would inform our public’s awareness more meaningfully. Comedy has opened a conversation that mainstream America hasn’t yet had—at least not in my lifetime—and I’m here for it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I admit that for too long I have only been focused on Chappelle’s point of view, like many young, straight men of color from my generation who were raised on his comedy. I don’t think I’m exaggerating when I say he has been the single most revered comic among the men of color in my life, and has in many ways informed our sense of society, racism, politics, humor and expression at large. But as I sit with myself and my thoughts after watching his documentary, and after seeing other childhood icons like Too $hort hold the stage with him and each other in such genuine fashion, I understand that I owe it to other communities, too, to shift my seat and begin to tune in more deeply to the voices I haven’t fully had the privilege to hear yet. [aside postid='arts_13905208']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I am not tuning Dave Chappelle out completely. But I am turning up the volume on other voices in the room. Both of these realities can be true.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because what \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Untitled\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> implicitly argues is that if we pull up a chair—even literally in the middle of an empty field—and put together a lineup of impassioned humans with a singular goal, something spectacular is bound to happen. Now, it’s time for the majority of us to sit back and listen.\u003c/span>\u003c/p>\n\n",
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"excerpt": "With special guests E-40 and Too $hort, the comedian created a joyful atmosphere. But that doesn't mean critiques of him aren't worth listening to. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“Many of you may know this, but I love the Bay Area,” Dave Chappelle told the audience when he first took the stage at the Chase Center for the San Francisco premiere of his film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Untitled\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. “This is where I learned my craft, and Punchline is the first place I came after I left comedy the first time. I want to thank you all for being here tonight.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His anticipated appearance came halfway through the show, after his film finished playing, to a largely receptive crowd of 19,000 people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary takes place during the COVID-19 pandemic’s deadly apex in the summer of 2020. It follows Chappelle, his family and his celebrity friends as they host a series of comedy shows in a Yellow Springs, Ohio, cornfield in hopes of raising the township’s morale.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, which will be shown in 10 North American cities, including the opening in San Francisco on Thursday night, is a mix of humor, poetry and music. It features A-list cameos, racial politics, casual family mingling, generational mentorship, complicated interactions with local government officials and lots of nose-swabbing and pro-vaccination messaging. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fan favorites like Michelle Wolf, Donnell Rawlings, Questlove, Trevor Noah, Jon Stewart, Tiffany Haddish, David Letterman, Erykah Badu and Ali Wong make appearances. And beyond the celebrities, we hear from anonymous locals at a virtual town hall meeting, coffee shop owners and Chappelle’s wife and children—all in a way I have yet to see him do in the past.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a snapshot of a precarious time and place—middle America amid a global health crisis, during a growing movement for racial justice—and how one comedian attempts to bring his people together to provide a therapeutic outlet for the public. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its worst, the film exists as a slightly redundant reminder of the most uncertain and unravelling moments of this pandemic. At its best, it represents a genuine blueprint for how those with social, economic and political clout—like Chappelle and his peers—can provide real spiritual relief for a community in need.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The documentary ends as abruptly as COVID arrived, with the makeshift venue in the film being torn down because of a surge in case numbers. A few of the guest comedians test positive and have to immediately bow out during the making of the film. That’s after multiple weeks of non-stop performances, which the film says produced over $9 million in local revenue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet, it’s all much bigger than a single documentary can deliver, which has arrived at perhaps the worst possible intersection in Chappelle’s storied career, when many national organizations and prominent figures have harshly criticized the comedian’s recent Netflix special for its insensitivity towards the trans community. It’s not something that can be simply overlooked.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Underneath the polarized debates on social media, Black LGBTQ+ people are leading nuanced conversations about how Chappelle has missed the mark by pitting race issues against gender issues, and largely ignoring queer and trans people of color. In the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">San Francisco Chronicle\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, UC Berkeley law professor Russell K. Robinson \u003c/span>\u003ca href=\"https://www.sfchronicle.com/opinion/openforum/article/Call-out-Dave-Chappelle-s-transphobia-but-16590293.php\">\u003cspan style=\"font-weight: 400\">lays out the hardships that LGBTQ+ Black people face\u003c/span>\u003c/a>, and the statistics are undeniable\u003cspan style=\"font-weight: 400\">. Yet even while critiquing Chappelle, he urges us not to ignore the comedian’s points about white gay racism. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is also Carolyn Wysinger, the board president of San Francisco Pride,\u003c/span>\u003ca href=\"https://www.sfgate.com/culture-columns/article/sf-pride-president-on-dave-chappelle-16575189.php\"> \u003cspan style=\"font-weight: 400\">who wrote a poignant, critical response\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Closer\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I would like to affirm my personal support for the demands made by the Black trans community members who led last week’s Netflix walkout,” Wysinger wrote for SFGATE. “If Netflix is going to continue streaming a program that clearly gives permission to the world to publicly expose harmful beliefs, tropes, and stereotypes of the Black LGBTQ+ community, then Netflix owes that same community the opportunity to tell their stories and combat the hate.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its core, this conflict is an issue of representation, visibility, awareness, humanization and safety. If Chappelle can retain his global platform to make jokes and share his views about topics of his choice, then LGBTQ+ artists must also receive the same exposure, audience and promotion to express their opinions and truths, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet, Thursday night wasn’t about Chappelle and his fractured relationship to the trans and LGBTQ+ community.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It wasn’t even fully about comedy. In fact—besides the opening act from the night’s host, Jeff Ross, followed by a stand-up performance from Bay Area-raised comedian, Luenell Campbell—there was very little traditional comedy to be had. (Chappelle himself didn’t even perform a full routine, although he did make impromptu jokes during transitions between acts.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, the night surprisingly became a necessary moment for gathering, remembering, laughter and levity. Despite the thick tension surrounding him, Chappelle and his special guests managed to create a sense of joy and familial unity that formed the basis of his film, and which he clearly has a gift for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We didn’t get Talib Kweli or John Mayer, though. Rather, Bay Area fans were treated to medicinal doses of Goapele and Raphael Saadiq, and the raw energy of Too $hort, Lil’ Jon, and E-40 sharing a stage. (Sadly, cameras were not allowed.) After each legendary individual’s performance, they stood side by side behind Chappelle while he delivered some closing words. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Take care of one another, look out for one another,” he urged the crowd with sincerity. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13840957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0970-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the evening, he jokingly alluded to being “cancelled” but also said he didn’t care, as if the controversy was just in the media and not the reality of the matter. The truth of that is certainly doubtful, since there seems to be an undeniable outcry and sense of hurt coming from many LGBTQ+ viewers of color, and that must be acknowledged. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In doubling down, I don’t believe Chappelle is going about the situation in the best way, and his documentary—which he says has been pulled from various festivals and venues—is certainly debuting at an unfavorable time for him. But I also don’t believe pulling his specials or cancelling appearances, as some critics have called for, does anyone good. I attended his premiere specifically to hear him directly, and to feel the energy he was projecting into the crowd. And my takeaway, from my personal experience and from what I felt all around me—from people of all ages, cultures, genders, heights, styles, economic backgrounds and so forth—was a feeling of unison, if only for those few hours we sat together. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps more than attending a film screening or wading in the ocean of commentary on this subject, shifting our collective attention towards voices beyond those in mainstream media—like San Francisco-based trans poet,\u003c/span>\u003ca href=\"https://calcalamia.com/\"> \u003cspan style=\"font-weight: 400\">Cal Calamia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, as one example—would inform our public’s awareness more meaningfully. Comedy has opened a conversation that mainstream America hasn’t yet had—at least not in my lifetime—and I’m here for it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I admit that for too long I have only been focused on Chappelle’s point of view, like many young, straight men of color from my generation who were raised on his comedy. I don’t think I’m exaggerating when I say he has been the single most revered comic among the men of color in my life, and has in many ways informed our sense of society, racism, politics, humor and expression at large. But as I sit with myself and my thoughts after watching his documentary, and after seeing other childhood icons like Too $hort hold the stage with him and each other in such genuine fashion, I understand that I owe it to other communities, too, to shift my seat and begin to tune in more deeply to the voices I haven’t fully had the privilege to hear yet. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because what \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Untitled\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> implicitly argues is that if we pull up a chair—even literally in the middle of an empty field—and put together a lineup of impassioned humans with a singular goal, something spectacular is bound to happen. Now, it’s time for the majority of us to sit back and listen.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chase Center Under Inspection After Deadly Fall at Phish Show",
"headTitle": "Chase Center Under Inspection After Deadly Fall at Phish Show | KQED",
"content": "\u003cp>\u003cstrong>Update, Oct. 21, 1pm: \u003c/strong>A Department of Building Inspection spokesperson tells KQED that two inspectors visited the Chase Center and found it to be code compliant.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The Phish concert at the Chase Center on Sunday, Oct. 17, ended in tragedy when \u003ca href=\"https://www.kqed.org/arts/13904786/man-falls-to-death-at-phish-concert-at-chase-center-2-others-injured\" target=\"_blank\" rel=\"noopener noreferrer\">one audience member died in a fall from a balcony\u003c/a>, and two others were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>The San Francisco Police Department tells KQED that it believes the first man, 47-year-old Ryan Prosser, leapt from an upper level of the arena. Police say they don’t believe the second man jumped intentionally, and multiple witnesses have described the incident as an accident. [aside postid='arts_13904786']\u003c/p>\n\u003cp>Now, some concertgoers are questioning whether the building is safe, and the city is investigating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to public records, a person filed a complaint to the Department of Building Inspection on Oct. 18, describing steep staircases leading into low guardrails in the arena’s balcony sections, calling the layout “unsafe.” The name of the complainant was redacted in the report. As required for every complaint, the Department of Building Inspection will inspect the arena.\u003c/p>\n\u003cp>The Chase Center’s layout alarmed San Francisco physician Sara Sani, who was in the audience at the Oct. 17 concert and, before EMTs arrived, provided first aid to the man who survived his fall at 9:45pm.\u003c/p>\n\u003cp>“I went to the head of the person who had fallen and asked him some questions to see how he was doing and where he had injuries, and [I] stabilized his neck,” Sani tells KQED. “He was totally lucid and said his back hurt and that he couldn’t move his left leg.”\u003c/p>\n\u003cp>On stage \u003ca href=\"https://youtu.be/6mlyPUYE-bQ\" target=\"_blank\" rel=\"noopener noreferrer\">in Eugene, Oregon on Tuesday\u003c/a>, Phish’s Trey Anastasio identified the man as Keith Thompson, the husband of Carrie Thompson, the event manager for the band’s Sacramento concert last week. “We’re sending our love to everybody involved,” he said.\u003c/p>\n\u003cp>https://youtu.be/6mlyPUYE-bQ\u003c/p>\n\u003cp>Sani says Thompson’s brother had witnessed the fall and told her the fallen man slipped, tried to avoid some people and tumbled down.\u003c/p>\n\u003cp>“The rows are so steep that when he began to fall, there was no stopping,” a witness, Dan Fitzsimmons, told the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/S-F-s-Chase-Center-assures-fans-arena-is-safe-16546252.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Evan Reeves, who suffered a broken leg after Thompson landed on him, \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/10/20/phish-fan-fall-upper-deck-chase-center-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">told KPIX\u003c/a> that he had moved down to a lower section before the incident because he didn’t feel safe dancing in the upper seats.\u003c/p>\n\u003cp>“To me, that’s a real structural concern,” Sani says. “It’s a public venue. People are going to have accidents whether they’re drinking or not. I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”\u003c/p>\n\u003cp>Sani says she waited with the man for 5–10 minutes until EMTs arrived. “There wasn’t official medical personnel for quite a while, and you would hope and expect that they’d show up quickly at a big venue like that,” she says. “People can definitely have life-threatening injuries that can kill them quickly in any kind of fall.”\u003c/p>\n\u003cp>Sani says she was so rattled by the incident that she contacted the San Francisco Department of Public Health.\u003c/p>\n\u003cp>[pullquote citation='San Francisco physician Sara Sani' size='large']“I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”[/pullquote]\u003c/p>\n\u003cp>KQED asked the Chase Center’s representatives whether the venue would make any kind of safety modifications in the wake of the two tragedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Chase Center is a safe, state-of-the-art arena that was built and is operated in accordance with all applicable safety requirements governing facilities of its kind,” wrote spokesperson Kimberly Veale in an email. “We went through a rigorous process with the Department of Building Inspection to obtain our requisite permits to open Chase Center. Further, DBI is conducting (and we are looking forward to) an additional inspection similar to the one the venue previously passed.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 21, 1pm: \u003c/strong>A Department of Building Inspection spokesperson tells KQED that two inspectors visited the Chase Center and found it to be code compliant.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The Phish concert at the Chase Center on Sunday, Oct. 17, ended in tragedy when \u003ca href=\"https://www.kqed.org/arts/13904786/man-falls-to-death-at-phish-concert-at-chase-center-2-others-injured\" target=\"_blank\" rel=\"noopener noreferrer\">one audience member died in a fall from a balcony\u003c/a>, and two others were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>The San Francisco Police Department tells KQED that it believes the first man, 47-year-old Ryan Prosser, leapt from an upper level of the arena. Police say they don’t believe the second man jumped intentionally, and multiple witnesses have described the incident as an accident. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, some concertgoers are questioning whether the building is safe, and the city is investigating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to public records, a person filed a complaint to the Department of Building Inspection on Oct. 18, describing steep staircases leading into low guardrails in the arena’s balcony sections, calling the layout “unsafe.” The name of the complainant was redacted in the report. As required for every complaint, the Department of Building Inspection will inspect the arena.\u003c/p>\n\u003cp>The Chase Center’s layout alarmed San Francisco physician Sara Sani, who was in the audience at the Oct. 17 concert and, before EMTs arrived, provided first aid to the man who survived his fall at 9:45pm.\u003c/p>\n\u003cp>“I went to the head of the person who had fallen and asked him some questions to see how he was doing and where he had injuries, and [I] stabilized his neck,” Sani tells KQED. “He was totally lucid and said his back hurt and that he couldn’t move his left leg.”\u003c/p>\n\u003cp>On stage \u003ca href=\"https://youtu.be/6mlyPUYE-bQ\" target=\"_blank\" rel=\"noopener noreferrer\">in Eugene, Oregon on Tuesday\u003c/a>, Phish’s Trey Anastasio identified the man as Keith Thompson, the husband of Carrie Thompson, the event manager for the band’s Sacramento concert last week. “We’re sending our love to everybody involved,” he said.\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/6mlyPUYE-bQ'\n title='//www.youtube.com/embed/6mlyPUYE-bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sani says Thompson’s brother had witnessed the fall and told her the fallen man slipped, tried to avoid some people and tumbled down.\u003c/p>\n\u003cp>“The rows are so steep that when he began to fall, there was no stopping,” a witness, Dan Fitzsimmons, told the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/S-F-s-Chase-Center-assures-fans-arena-is-safe-16546252.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Evan Reeves, who suffered a broken leg after Thompson landed on him, \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/10/20/phish-fan-fall-upper-deck-chase-center-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">told KPIX\u003c/a> that he had moved down to a lower section before the incident because he didn’t feel safe dancing in the upper seats.\u003c/p>\n\u003cp>“To me, that’s a real structural concern,” Sani says. “It’s a public venue. People are going to have accidents whether they’re drinking or not. I’m worried people are going to fall and get injured and possibly die again if they don’t do something about that structural setup.”\u003c/p>\n\u003cp>Sani says she waited with the man for 5–10 minutes until EMTs arrived. “There wasn’t official medical personnel for quite a while, and you would hope and expect that they’d show up quickly at a big venue like that,” she says. “People can definitely have life-threatening injuries that can kill them quickly in any kind of fall.”\u003c/p>\n\u003cp>Sani says she was so rattled by the incident that she contacted the San Francisco Department of Public Health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED asked the Chase Center’s representatives whether the venue would make any kind of safety modifications in the wake of the two tragedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Chase Center is a safe, state-of-the-art arena that was built and is operated in accordance with all applicable safety requirements governing facilities of its kind,” wrote spokesperson Kimberly Veale in an email. “We went through a rigorous process with the Department of Building Inspection to obtain our requisite permits to open Chase Center. Further, DBI is conducting (and we are looking forward to) an additional inspection similar to the one the venue previously passed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, Oct. 20, 4:58pm: \u003c/strong>The San Francisco Police Department identified the man who died Oct. 17 at Chase Center as 47-year-old Ryan Prosser. An SFPD spokesperson says there was evidence that he jumped from an upper level of the venue. The second fall at the venue appeared to have been an accident, police and witnesses say. \u003ca href=\"https://www.kqed.org/arts/13904860/chase-center-under-inspection-after-deadly-fall-at-phish-show\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Department of Building Inspection plans to inspect the venue\u003c/a>. [aside postid='arts_13904860']\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>A man fell to his death at the Phish concert at Chase Center on Sunday, and two other people were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>A San Francisco Police Department spokesperson tells KQED that at 8:55pm on Oct. 17, numerous people alerted officers about a person in need of medical attention. When police arrived, they found a man injured from a possible fall and called medics.\u003c/p>\n\u003cp>“Medics arrived and immediately provided medical treatment, but despite the efforts of the emergency responders the victim succumbed to his injuries and was declared deceased,” Officer Robert Rueca wrote in an email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rueca added that the Office of the Chief Medical Examiner is investigating the cause of death, and that police found no evidence of foul play. Police have not released the name of the deceased.\u003c/p>\n\u003cp>Almost an hour later, at 9:45pm, officers and medics responded to another report of a man falling at the concert. That man, and a second man he landed on, were taken to the hospital with non-life threatening injuries.\u003c/p>\n\u003cp>On social media, concert attendees who witnessed the tragedies reflected on the traumatic experience. “The sound and scene were incredible and horrifying,” \u003ca href=\"https://www.reddit.com/r/phish/comments/qao0eo/jumper_landed_5_feet_behind_me_im_really_not_ok/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a Reddit user\u003c/a> going by @delete_if_u_r_sure, referring to the first incident. He wrote that he and his son were two rows away from where the deceased man landed.\u003c/p>\n\u003cp>“Today, I feel for the community and especially for the family/friends of the jumper and all the people in 115-117 who got some undeserved wartime-like images – many while tripping,” he added.\u003c/p>\n\u003cp>A concertgoer named Juliet Biton \u003ca href=\"https://www.sfchronicle.com/sf/article/One-dead-one-seriously-injured-after-Phish-16543193.php\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that within two minutes of one of the incidents, Chase Center personnel cleared out the area and put black tarp over the seats so that medics could attend to the injured.\u003c/p>\n\u003cp>Phish’s representative declined to comment, and the band has not posted about the incident on social media as of Monday afternoon.\u003c/p>\n\u003cp>Chase Center deferred questions to the police department. “We extend our heartfelt condolences to the guest’s loved ones,” the venue’s spokesperson wrote. “We are working with the local authorities to determine exactly what happened.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story and may be updated. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 20, 4:58pm: \u003c/strong>The San Francisco Police Department identified the man who died Oct. 17 at Chase Center as 47-year-old Ryan Prosser. An SFPD spokesperson says there was evidence that he jumped from an upper level of the venue. The second fall at the venue appeared to have been an accident, police and witnesses say. \u003ca href=\"https://www.kqed.org/arts/13904860/chase-center-under-inspection-after-deadly-fall-at-phish-show\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Department of Building Inspection plans to inspect the venue\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>A man fell to his death at the Phish concert at Chase Center on Sunday, and two other people were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>A San Francisco Police Department spokesperson tells KQED that at 8:55pm on Oct. 17, numerous people alerted officers about a person in need of medical attention. When police arrived, they found a man injured from a possible fall and called medics.\u003c/p>\n\u003cp>“Medics arrived and immediately provided medical treatment, but despite the efforts of the emergency responders the victim succumbed to his injuries and was declared deceased,” Officer Robert Rueca wrote in an email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rueca added that the Office of the Chief Medical Examiner is investigating the cause of death, and that police found no evidence of foul play. Police have not released the name of the deceased.\u003c/p>\n\u003cp>Almost an hour later, at 9:45pm, officers and medics responded to another report of a man falling at the concert. That man, and a second man he landed on, were taken to the hospital with non-life threatening injuries.\u003c/p>\n\u003cp>On social media, concert attendees who witnessed the tragedies reflected on the traumatic experience. “The sound and scene were incredible and horrifying,” \u003ca href=\"https://www.reddit.com/r/phish/comments/qao0eo/jumper_landed_5_feet_behind_me_im_really_not_ok/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a Reddit user\u003c/a> going by @delete_if_u_r_sure, referring to the first incident. He wrote that he and his son were two rows away from where the deceased man landed.\u003c/p>\n\u003cp>“Today, I feel for the community and especially for the family/friends of the jumper and all the people in 115-117 who got some undeserved wartime-like images – many while tripping,” he added.\u003c/p>\n\u003cp>A concertgoer named Juliet Biton \u003ca href=\"https://www.sfchronicle.com/sf/article/One-dead-one-seriously-injured-after-Phish-16543193.php\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that within two minutes of one of the incidents, Chase Center personnel cleared out the area and put black tarp over the seats so that medics could attend to the injured.\u003c/p>\n\u003cp>Phish’s representative declined to comment, and the band has not posted about the incident on social media as of Monday afternoon.\u003c/p>\n\u003cp>Chase Center deferred questions to the police department. “We extend our heartfelt condolences to the guest’s loved ones,” the venue’s spokesperson wrote. “We are working with the local authorities to determine exactly what happened.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story and may be updated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "CANCELED: Tame Impala to Bring 'Slow Rush' Tour to SF's Chase Center",
"headTitle": "CANCELED: Tame Impala to Bring ‘Slow Rush’ Tour to SF’s Chase Center | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Australian band Tame Impala has fans from just about every musical scene and subculture—that even includes pop superstar Rihanna, who \u003ca href=\"https://www.youtube.com/watch?v=x57ZM02NhF0\" target=\"_blank\" rel=\"noopener noreferrer\">covered\u003c/a> their track “\u003ca href=\"https://www.youtube.com/watch?v=tEXYfT_G0W0\" target=\"_blank\" rel=\"noopener noreferrer\">New Person, Same Old Mistakes\u003c/a>” on her acclaimed 2016 album, \u003cem>ANTI\u003c/em>.\u003c/p>\n\u003cp>After a five-year gap between albums, Tame Impala’s new project \u003cem>The Slow Rush\u003c/em> finds bandleader Kevin Parker weaving hip-hop drums and house music’s exuberant pulse into his expansive, psychedelic rock. \u003cem>The Slow Rush\u003c/em> has a smoother, more pop-oriented approach than Parker’s previous releases, but that doesn’t make it generic.\u003c/p>\n\u003cp>The multi-instrumentalist’s omnivorous tastes lead each track to surprising places, like the pensive “\u003ca href=\"https://www.youtube.com/watch?v=44lWO3qhQMk\" target=\"_blank\" rel=\"noopener noreferrer\">Posthumous Forgiveness\u003c/a>.” The song is full of tense, building surf-guitar riffs as Parker contemplates his complicated relationship with a father who wasn’t there for him, ultimately coming to an understanding of him as a man. The track’s R&B coda resolves the tension and brings a sense of peace that mirrors Parker’s emotional journey in the lyrics.\u003c/p>\n\u003cp>In the studio, Parker mostly works alone, but Tame Impala’s live shows bring out his music’s complex layers and sentimental undercurrents with a full band and stunning visuals. (At Treasure Island Music Festival in Oakland two years ago, they bathed the stage in a trippy light show and then showered the audience in confetti.) Tame Impala performs Friday, March 13, at the Chase Center in San Francisco. \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/utCjuKDXQsE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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