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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13937049/this-is-getting-good-now-bay-areas-fans-brace-themselves-for-taylor-swifts-1989-album-re-release\">Taylor Swift\u003c/a>’s lyricism and autobiographical songwriting propelled her to cultural icon status. Yet another aspect of the Grammy Award-winning musician’s wide skill set will be the subject of a new course offering at UC Berkeley next year.\u003c/p>\n\u003cp>Artistry & Entrepreneurship: Taylor’s Version, cleverly named after the singer’s ongoing effort to re-record her catalog, will explore “what has led to Taylor Swift’s prolific success as a songwriter, businesswoman and creative influence,” \u003ca href=\"https://sites.google.com/view/taylorswiftdecal/about-the-course\">according to the course website\u003c/a>.\u003c/p>\n\u003cp>The class will consist of four distinct modules, analyzing Swift’s emergence, live performances, public personas and songwriting techniques through a business lens.\u003c/p>\n\u003cp>“We’ll put her under scrutiny, but handle it beautifully,” the description reads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The course is part of the \u003ca href=\"https://decal.berkeley.edu/about/decal-program\">DeCal Program\u003c/a>, which allows students to create and facilitate their own classes on subjects not addressed in the traditional curriculum.\u003c/p>\n\u003cp>Sofia Lendahl, who is working on a degree in data science, will be the lead facilitator of the course for the spring 2024 term. Lendahl says her favorite album from the singer is \u003cem>evermore\u003c/em>, which Swift released as a surprise three years ago.\u003c/p>\n\u003cp>https://twitter.com/UofCalifornia/status/1719038483497713766\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The Taylor Swift class was founded by Crystal Haryanto, who recently graduated from the university and works as an analyst at an economic consulting firm. Haryanto’s go-to album is \u003cem>Speak Now\u003c/em>, for which Swift released a “Taylor’s Version” in July — three weeks before a pair of sold-out Eras Tour concerts at Levi’s Stadium in Santa Clara. [aside postID=arts_13937049 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/10/Taylor-Swift_3-1020x659.jpg'] The UC Berkeley course is the second offering at Bay Area college campuses. A sophomore Swifty at Stanford University is also slated to lead a class dedicated to the multi-platinum artist called The Last Great American Songwriter — a reference to Swift’s song “the last great american dynasty,” from her album \u003cem>folklore\u003c/em>. This class specifically examines the mega star’s storytelling abilities.\u003c/p>\n\u003cp>Swift’s lyrical stories were captured on full display at her performances during The Eras Tour, which also became \u003cem>the\u003c/em> highest-grossing concert tour movie of all time. It earned more than $120 million during its opening weekend in October. (You can still catch a screening at Bay Area movie theaters.)\u003c/p>\n\u003cp>\u003cem>The full syllabus and contact information for UC Berkeley’s Artistry & Entrepreneurship: Taylor’s Version course is available \u003c/em>\u003ca href=\"https://sites.google.com/view/taylorswiftdecal/home\">\u003cem>here\u003c/em>\u003c/a>\u003cem>. The spring semester begins Jan. 9, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Last Great American course at Stanford University is offered as a part of \u003c/em>\u003ca href=\"https://sis.stanford.edu/italic-arts-minded-residence-based-academic-program-first-year-students\">\u003cem>ITALIC\u003c/em>\u003c/a>\u003cem>, a residence-based arts immersion program for first-year students.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The UC Berkeley course is the second offering at Bay Area college campuses. A sophomore Swifty at Stanford University is also slated to lead a class dedicated to the multi-platinum artist called The Last Great American Songwriter — a reference to Swift’s song “the last great american dynasty,” from her album \u003cem>folklore\u003c/em>. This class specifically examines the mega star’s storytelling abilities.\u003c/p>\n\u003cp>Swift’s lyrical stories were captured on full display at her performances during The Eras Tour, which also became \u003cem>the\u003c/em> highest-grossing concert tour movie of all time. It earned more than $120 million during its opening weekend in October. (You can still catch a screening at Bay Area movie theaters.)\u003c/p>\n\u003cp>\u003cem>The full syllabus and contact information for UC Berkeley’s Artistry & Entrepreneurship: Taylor’s Version course is available \u003c/em>\u003ca href=\"https://sites.google.com/view/taylorswiftdecal/home\">\u003cem>here\u003c/em>\u003c/a>\u003cem>. The spring semester begins Jan. 9, 2024. \u003c/em>\u003c/p>\n\u003cp>\u003cem>The Last Great American course at Stanford University is offered as a part of \u003c/em>\u003ca href=\"https://sis.stanford.edu/italic-arts-minded-residence-based-academic-program-first-year-students\">\u003cem>ITALIC\u003c/em>\u003c/a>\u003cem>, a residence-based arts immersion program for first-year students.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "It’s #BillionGirlSummer: Taylor, Beyoncé and ‘Barbie’ Made for One Epic Trifecta",
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"content": "\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>[aside postid='arts_13924636']#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>[aside postid='arts_13931892']The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\n\u003cp>https://twitter.com/TheSwiftSociety/status/1686886319832616960\u003c/p>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>[aside postid='arts_13931981']Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\n\u003cp>https://twitter.com/BuzzingPop/status/1687670252501368832\u003c/p>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "dear-city-leaders-stop-with-the-taylor-swift-pandering-already",
"title": "City Leaders, Please Stop With the Taylor Swift Pandering Already",
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"content": "\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>[aside postID='pop_18933']Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13931533']And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n",
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"title": "City Leaders, Please Stop With the Taylor Swift Pandering Already | KQED",
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"headline": "City Leaders, Please Stop With the Taylor Swift Pandering Already",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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