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"title": "Who Will Bay Area Taylor Swift Fans Root For in the Super Bowl? An Investigation",
"headTitle": "Who Will Bay Area Taylor Swift Fans Root For in the Super Bowl? An Investigation | KQED",
"content": "\u003cp>From the moment it became clear that \u003ca href=\"https://www.kqed.org/news/11974882/where-to-watch-the-super-bowl-in-the-bay-area-on-sunday\">the San Francisco 49ers had made it to the Super Bowl\u003c/a>, I knew.\u003c/p>\n\u003cp>Even though this was a historic moment for the Bay Area, for some in this beautiful region, it would now be a house divided.\u003c/p>\n\u003cp>That’s because \u003ca href=\"https://www.kqed.org/news/11974954/how-to-enjoy-the-super-bowl-in-the-bay-area-if-you-dont-follow-football\">the Niners will be playing the Kansas City Chiefs\u003c/a> — the Midwestern team enjoying the attention of one Taylor Alison Swift, who is dating their tight end Travis Kelce. Now, the Bay Area’s Swift fans — like me — could find themselves challenged where their loyalties really lie.\u003c/p>\n\u003cp>The back story: In the five months she and Kelce have been a public item, Swift has frequented the Chiefs’ games. (For what it’s worth, the team has won \u003ca href=\"https://www.usatoday.com/story/graphics/2023/12/29/taylor-swift-travis-kelce-kansas-city-distraction/72043167007/#:~:text=Invited%20by%20Travis%20Kelce%2C%20Swift,way%20to%20the%20Super%20Bowl.\">9 of the 12 games she attended\u003c/a>.) And many Swift fans who are not huge on football have become strangely fond of this Kelce man, tuning into \u003ca href=\"https://www.tiktok.com/@rickyvalero_/video/7283107362590772510\">his touching dynamic with his older brother, Philadelphia Eagles player Jason Kelce\u003c/a> and \u003ca href=\"https://www.thecut.com/2023/11/what-travis-kelces-old-tweets-reveal-about-the-nfl-star.html\">an odd back catalog of college-era tweets\u003c/a> that range from the endearing (“NAP TIME!!!!”) to the … inevitable “this tweet has been deleted” posts.[aside postID=\"news_11974882,news_11974954,arts_13951328\" label=\"More on the Super Bowl\"]\u003c/p>\n\u003cp>Will Taylor Swift even be attending Sunday’s Super Bowl in Las Vegas? Right now, who knows. After \u003ca href=\"https://apnews.com/article/taylor-swift-grammys-tokyo-super-bowl-kelce-d46418de25e985f77ab7a7ada337d2a0\">her very successful Grammys\u003c/a>, where she was nominated for six awards, won two of them, and announced a new album, \u003cem>The Tortured Poets Department\u003c/em>, she is \u003ca href=\"https://www.kcur.org/arts-life/2024-01-30/another-super-bowl-bet-emerges-can-taylor-swift-make-it-from-her-tokyo-show-in-time\">playing four shows in Tokyo the same week, concluding on Saturday\u003c/a>. But whether or not Swift is physically there, she will be on the minds of many of us fans.\u003c/p>\n\u003cp>And so, the question persists: Who will Bay Area Swifties ultimately root for? The 49ers? Or the Chiefs? \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">As a San Francisco resident and certified Swift fan\u003c/a>, I now bring you this clear-eyed investigation.\u003c/p>\n\u003ch2>Do it for the Bay?\u003c/h2>\n\u003cp>First, I turned to the Swifties closest to me for their takes. My friend and San Francisco resident, Jenny George, shocked me with her quick, blunt answer that she was supporting the Chiefs because “San Francisco hasn’t done as much for me as Taylor Swift has.”\u003c/p>\n\u003cp>But by her own admission, George has always lacked hometown spirit — \u003ca href=\"https://www.kqed.org/news/11973887/49ers-nfc-game-2023\">she wasn’t rooting for the Detroit Lions in the 49ers last game either\u003c/a>, despite being \u003ci>from \u003c/i>Michigan. I knew I needed to reach out to more trusted Swift resources, like Fairfield resident Aireonna Westbrook.\u003c/p>\n\u003cfigure id=\"attachment_13951940\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951940\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2.jpg\" alt=\"A woman smiles at the camera. She has short brown hair in a side part and is wearing a black shirt.\" width=\"600\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2-160x170.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Aireonna Westbrook \u003ccite>(Courtesy Aireonna Westbrook )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, Westbrook described herself as “in between” on the issue of 49ers vs. Chiefs. (\u003ca href=\"https://www.kqed.org/news/11378621/nfl-owners-approve-raiders-move-from-oakland-to-las-vegas\">She was raised to support the Raiders\u003c/a>.) “I don’t even like football,” she says. “Because Taylor Swift has been dating Travis Kelce — that’s one reason why I’ve been keeping up with it.” Laughing, she added, “I don’t mind who wins. May the best win.”\u003c/p>\n\u003cp>“But then,” she suddenly says, reversing course, “I won’t be a true Bay Area kid. Let me say the Niners.”\u003c/p>\n\u003cp>It’s that same dedication to the Bay above all that Bonnie Chin has as well.\u003c/p>\n\u003cp>Chin — the resident Taylor Swift fan of KQED’s own legal department — says she isn’t a big football fan. But as a born and raised Bay Area resident, she nonetheless feels “obligated to root for the Niners.”\u003c/p>\n\u003cfigure id=\"attachment_13951941\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2.jpg\" alt='A woman with brown hair is photographed smiling with a stadium crowd behind her. She is making the two-fingers \"peace\" sign at the camera.' width=\"600\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2-160x176.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Bonnie Chin pictured at the artist’s Eras tour \u003ccite>(Courtesy Bonnie Chin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Enjoying the same thing’\u003c/h2>\n\u003cp>Walnut Creek Swiftie Silvia Li Sam admits she, too, has complicated feelings. And while she is also going for the Niners, she hopes to see Swift at the game, too.\u003c/p>\n\u003cp>“Everybody is literally rooting for her to get there on time,” she says, referring to\u003ca href=\"https://twitter.com/JapanEmbDC/status/1753455158460133508\"> a Twitter (now X) post from the Japanese Embassy in Washington D.C.,\u003c/a> which asserted that despite the 12-hour flight and the 17-hour time difference, Swift could “comfortably” arrive in Las Vegas if she leaves in the evening after her concert.\u003c/p>\n\u003cp>https://twitter.com/JapanEmbDC/status/1753455158460133508\u003c/p>\n\u003cp>But Li Sam says her interest in football was recently piqued thanks to Swift, and she started asking her partner more questions about the 49ers.\u003c/p>\n\u003cp>Li Sam feels like the football industry is increasingly making more space for women — noting that the designer Kristin Juszczyk, herself the wife of a Niners player, \u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a46594407/kristin-juszczyk-nfl-puffer-jacket-taylor-swift/\">closed a deal with the NFL to create a line of clothing shortly after Taylor Swift wore one of Juszczyk’s jackets\u003c/a>. Juszczyk has also made \u003ca href=\"https://www.tiktok.com/@kristinjuszczyk/video/7308872026918358302\">customized clothing for other stars, like Olympian Simone Biles.\u003c/a>\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@kristinjuszczyk/video/7323744574751526174\" data-video-id=\"7323744574751526174\">\n\u003csection>\u003ca title=\"@kristinjuszczyk\" href=\"https://www.tiktok.com/@kristinjuszczyk?refer=embed\" target=\"_blank\" rel=\"noopener\">@kristinjuszczyk\u003c/a> An honor of a lifetime!!!!! Thank you @Taylor Swift \u003ca title=\"♬ original sound - Kristin Juszczyk\" href=\"https://www.tiktok.com/music/original-sound-7323746213210114846?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kristin Juszczyk\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But what Li Sam really loves are the latest \u003ca href=\"https://www.tiktok.com/@booksandtalkswithsteph/video/7329316661146979630?_r=1&_t=8jdsEhtDgkw&social_sharing=1\">videos of parents — especially fathers — bonding over sports with their young Swiftie daughters\u003c/a>. She says it reminds her of her childhood, growing up in Peru and watching soccer games with her dad.\u003c/p>\n\u003cp>“It’s three hours of quality time, enjoying the same thing, watching the same thing,” Li Sam says. “It’s going to lead to a lot of beautiful things down the line when they get older.”\u003c/p>\n\u003cp>Swift’s appearance on camera during NFL games has been something of a point of contention for some sports fans, to the point where the artist even herself referenced \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">“pissing off a few dads, Brads and Chads”\u003c/a> by being shown on TV when “just there to support Travis.” And as a \u003ca href=\"https://www.nytimes.com/2024/01/25/style/taylor-swift-nfl-broadcasts.html\">\u003ci>New York Times \u003c/i>analysis found, Swift has only been shown for under 30 seconds per game\u003c/a>, and the discussion around her dating life is mostly on social media rather than during the game itself.\u003c/p>\n\u003cp>“For you to make such a big deal about it for those 30, 40 seconds that she does show up in the three-hour livestream?” Li Sam says. “I don’t know, that says a lot about you.”\u003c/p>\n\u003cfigure id=\"attachment_13951943\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2.jpg\" alt=\"A woman with long brown hair is photographed standing at an outdoor stadium concert, leaning forward and smiling broadly, with huge crowds behind her.\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2-160x171.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Silvia Li Sam, Taylor Swift fan, pictured at a Swift show. \u003ccite>(Courtesy Silvia Li Sam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A new era?\u003c/h2>\n\u003cp>South San Francisco elementary school teacher Amanda Sterner \u003ci>is \u003c/i>a longstanding football fan as well as a Swiftie — but she says, “Institutions are disappearing because they aren’t growing with the times … Any institution has to grow with the audience.”\u003c/p>\n\u003cp>“And if you want the NFL to be successful, you need to be able to bring in younger people and people who historically haven’t watched — like women,” Sterner says.\u003c/p>\n\u003cp>A self-described “lifelong Niners fan,” Sterner says she’ll be rooting for her home team on Sunday and is particularly excited to see if \u003ca href=\"https://deadspin.com/sf-49ers-kc-chiefs-super-bowl-nfl-patriots-cowboys-1851227549\">the Niners can get their sixth win after winning five games in the 90s\u003c/a>. However, she will be repping Swifties when watching the game by proudly wearing \u003ca href=\"https://www.marieclaire.com.au/life/taylor-swift-eras-explained/\">“my 49ers era” glittery sweater, she says\u003c/a>.\u003c/p>\n\u003cp>“I do, of course, always hope [for] the best for Travis Kelce. I think he’s amazing,” she says. But she says she’s also anxious about “\u003ca href=\"https://www.espn.com/nfl/game/_/gameId/401131047\">what happened the last time the Chiefs and Niners made it to the Super Bowl in 2020,\u003c/a>” with a 31–20 victory for the Chiefs — a scant month before the COVID-19 pandemic sent the world into lockdown. “I desperately hope that the Niners win because\u003ca href=\"https://www.kqed.org/news/11974954/how-to-enjoy-the-super-bowl-in-the-bay-area-if-you-dont-follow-football\"> I don’t want a repeat of everything else that happened in that year,\u003c/a>” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sterner says she’s also looking at the possible pros for Swift if the Chiefs lose. The artist, \u003ca href=\"https://www.vox.com/culture/22278732/taylor-swift-re-recording-1989-speak-now-enchanted-mine-master-rights-scooter-braun\">who has been re-recording her back catalog in recent years\u003c/a>, has yet to announce her re-recording of her sixth album \u003ci>Reputation\u003c/i> — and if Kelce loses the Super Bowl, the couple could “be in their \u003ci>Reputation \u003c/i>era together,” Sterner says.\u003c/p>\n\u003cp>Sterner, like many fans, was expecting that \u003ci>Reputation \u003c/i>announcement during the Grammys — but instead got the news of an entirely new album, which will be coming in April. While fans are ecstatic, it has thrown many off who have been trying to solve the many puzzles Taylor Swift has an affinity for creating around her music lore.\u003c/p>\n\u003cp>“Everybody’s like, ‘Oh my God, [the Super Bowl is] the 13th game,’” Sterner says, referencing Swift’s infamous lucky number 13. “‘And it’s a 13-hour flight from Tokyo, and like …’ It’s all really funny.”\u003c/p>\n\u003cp>“We must sound the way flat Earthers sound,” Sterner says. “And we’re like, ‘But it all adds up!’”\u003c/p>\n\u003cp>Sterner teaches at a school that mandates uniforms, but the rules have been temporarily relaxed these last weeks to allow kids to don their best Niners gear.\u003c/p>\n\u003cp>“There’s that sense of togetherness that comes from your home team being in the Super Bowl that just makes everybody feel like you’re a part of something,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13951944\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2.jpg\" alt=\"A woman smiles into the camera wearing a white shirt, a black hat and heart-shaped red sunglasses\" width=\"600\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2-160x165.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Amanda Sterner \u003ccite>(Courtesy Amanda Sterner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>I’m on the bleachers\u003c/h2>\n\u003cp>My conclusion, based on the Bay Area fans I spoke with? Our Swifties are ultimately loyal to the San Francisco 49ers, albeit not without some internal conflict.\u003c/p>\n\u003cp>But what do \u003ci>I\u003c/i> want?\u003c/p>\n\u003cp>Do I want my home to be happy? Of course.\u003c/p>\n\u003cp>But do I want misogynists who have been projecting their hatred onto Swift to be happy? No. Am I concerned that many are now rooting for San Francisco — \u003ca href=\"https://www.kqed.org/news/11960940/the-bay-areas-your-home-whats-the-real-story-of-living-here\">their erstwhile progressive boogeyman\u003c/a> — \u003ci>just because\u003c/i> they hate Swift? Yes.\u003c/p>\n\u003cp>It’s a struggle for me. \u003ca href=\"https://youtu.be/esHHwgvG_lw?feature=shared&t=12\">I’ll guess I’ll play both sides, so I always come up on top\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Bay Area is Niners Nation. But Taylor Swift now supports the Kansas City Chiefs because of Travis Kelce. So, are her fans in the Bay Area truly torn on whether to support the 49ers in Sunday's Super Bowl face-off?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the moment it became clear that \u003ca href=\"https://www.kqed.org/news/11974882/where-to-watch-the-super-bowl-in-the-bay-area-on-sunday\">the San Francisco 49ers had made it to the Super Bowl\u003c/a>, I knew.\u003c/p>\n\u003cp>Even though this was a historic moment for the Bay Area, for some in this beautiful region, it would now be a house divided.\u003c/p>\n\u003cp>That’s because \u003ca href=\"https://www.kqed.org/news/11974954/how-to-enjoy-the-super-bowl-in-the-bay-area-if-you-dont-follow-football\">the Niners will be playing the Kansas City Chiefs\u003c/a> — the Midwestern team enjoying the attention of one Taylor Alison Swift, who is dating their tight end Travis Kelce. Now, the Bay Area’s Swift fans — like me — could find themselves challenged where their loyalties really lie.\u003c/p>\n\u003cp>The back story: In the five months she and Kelce have been a public item, Swift has frequented the Chiefs’ games. (For what it’s worth, the team has won \u003ca href=\"https://www.usatoday.com/story/graphics/2023/12/29/taylor-swift-travis-kelce-kansas-city-distraction/72043167007/#:~:text=Invited%20by%20Travis%20Kelce%2C%20Swift,way%20to%20the%20Super%20Bowl.\">9 of the 12 games she attended\u003c/a>.) And many Swift fans who are not huge on football have become strangely fond of this Kelce man, tuning into \u003ca href=\"https://www.tiktok.com/@rickyvalero_/video/7283107362590772510\">his touching dynamic with his older brother, Philadelphia Eagles player Jason Kelce\u003c/a> and \u003ca href=\"https://www.thecut.com/2023/11/what-travis-kelces-old-tweets-reveal-about-the-nfl-star.html\">an odd back catalog of college-era tweets\u003c/a> that range from the endearing (“NAP TIME!!!!”) to the … inevitable “this tweet has been deleted” posts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Will Taylor Swift even be attending Sunday’s Super Bowl in Las Vegas? Right now, who knows. After \u003ca href=\"https://apnews.com/article/taylor-swift-grammys-tokyo-super-bowl-kelce-d46418de25e985f77ab7a7ada337d2a0\">her very successful Grammys\u003c/a>, where she was nominated for six awards, won two of them, and announced a new album, \u003cem>The Tortured Poets Department\u003c/em>, she is \u003ca href=\"https://www.kcur.org/arts-life/2024-01-30/another-super-bowl-bet-emerges-can-taylor-swift-make-it-from-her-tokyo-show-in-time\">playing four shows in Tokyo the same week, concluding on Saturday\u003c/a>. But whether or not Swift is physically there, she will be on the minds of many of us fans.\u003c/p>\n\u003cp>And so, the question persists: Who will Bay Area Swifties ultimately root for? The 49ers? Or the Chiefs? \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">As a San Francisco resident and certified Swift fan\u003c/a>, I now bring you this clear-eyed investigation.\u003c/p>\n\u003ch2>Do it for the Bay?\u003c/h2>\n\u003cp>First, I turned to the Swifties closest to me for their takes. My friend and San Francisco resident, Jenny George, shocked me with her quick, blunt answer that she was supporting the Chiefs because “San Francisco hasn’t done as much for me as Taylor Swift has.”\u003c/p>\n\u003cp>But by her own admission, George has always lacked hometown spirit — \u003ca href=\"https://www.kqed.org/news/11973887/49ers-nfc-game-2023\">she wasn’t rooting for the Detroit Lions in the 49ers last game either\u003c/a>, despite being \u003ci>from \u003c/i>Michigan. I knew I needed to reach out to more trusted Swift resources, like Fairfield resident Aireonna Westbrook.\u003c/p>\n\u003cfigure id=\"attachment_13951940\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951940\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2.jpg\" alt=\"A woman smiles at the camera. She has short brown hair in a side part and is wearing a black shirt.\" width=\"600\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Aireonna-Crop-2-160x170.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Aireonna Westbrook \u003ccite>(Courtesy Aireonna Westbrook )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, Westbrook described herself as “in between” on the issue of 49ers vs. Chiefs. (\u003ca href=\"https://www.kqed.org/news/11378621/nfl-owners-approve-raiders-move-from-oakland-to-las-vegas\">She was raised to support the Raiders\u003c/a>.) “I don’t even like football,” she says. “Because Taylor Swift has been dating Travis Kelce — that’s one reason why I’ve been keeping up with it.” Laughing, she added, “I don’t mind who wins. May the best win.”\u003c/p>\n\u003cp>“But then,” she suddenly says, reversing course, “I won’t be a true Bay Area kid. Let me say the Niners.”\u003c/p>\n\u003cp>It’s that same dedication to the Bay above all that Bonnie Chin has as well.\u003c/p>\n\u003cp>Chin — the resident Taylor Swift fan of KQED’s own legal department — says she isn’t a big football fan. But as a born and raised Bay Area resident, she nonetheless feels “obligated to root for the Niners.”\u003c/p>\n\u003cfigure id=\"attachment_13951941\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2.jpg\" alt='A woman with brown hair is photographed smiling with a stadium crowd behind her. She is making the two-fingers \"peace\" sign at the camera.' width=\"600\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Bonnie-Crop-2-160x176.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Bonnie Chin pictured at the artist’s Eras tour \u003ccite>(Courtesy Bonnie Chin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Enjoying the same thing’\u003c/h2>\n\u003cp>Walnut Creek Swiftie Silvia Li Sam admits she, too, has complicated feelings. And while she is also going for the Niners, she hopes to see Swift at the game, too.\u003c/p>\n\u003cp>“Everybody is literally rooting for her to get there on time,” she says, referring to\u003ca href=\"https://twitter.com/JapanEmbDC/status/1753455158460133508\"> a Twitter (now X) post from the Japanese Embassy in Washington D.C.,\u003c/a> which asserted that despite the 12-hour flight and the 17-hour time difference, Swift could “comfortably” arrive in Las Vegas if she leaves in the evening after her concert.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But Li Sam says her interest in football was recently piqued thanks to Swift, and she started asking her partner more questions about the 49ers.\u003c/p>\n\u003cp>Li Sam feels like the football industry is increasingly making more space for women — noting that the designer Kristin Juszczyk, herself the wife of a Niners player, \u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a46594407/kristin-juszczyk-nfl-puffer-jacket-taylor-swift/\">closed a deal with the NFL to create a line of clothing shortly after Taylor Swift wore one of Juszczyk’s jackets\u003c/a>. Juszczyk has also made \u003ca href=\"https://www.tiktok.com/@kristinjuszczyk/video/7308872026918358302\">customized clothing for other stars, like Olympian Simone Biles.\u003c/a>\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@kristinjuszczyk/video/7323744574751526174\" data-video-id=\"7323744574751526174\">\n\u003csection>\u003ca title=\"@kristinjuszczyk\" href=\"https://www.tiktok.com/@kristinjuszczyk?refer=embed\" target=\"_blank\" rel=\"noopener\">@kristinjuszczyk\u003c/a> An honor of a lifetime!!!!! Thank you @Taylor Swift \u003ca title=\"♬ original sound - Kristin Juszczyk\" href=\"https://www.tiktok.com/music/original-sound-7323746213210114846?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Kristin Juszczyk\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what Li Sam really loves are the latest \u003ca href=\"https://www.tiktok.com/@booksandtalkswithsteph/video/7329316661146979630?_r=1&_t=8jdsEhtDgkw&social_sharing=1\">videos of parents — especially fathers — bonding over sports with their young Swiftie daughters\u003c/a>. She says it reminds her of her childhood, growing up in Peru and watching soccer games with her dad.\u003c/p>\n\u003cp>“It’s three hours of quality time, enjoying the same thing, watching the same thing,” Li Sam says. “It’s going to lead to a lot of beautiful things down the line when they get older.”\u003c/p>\n\u003cp>Swift’s appearance on camera during NFL games has been something of a point of contention for some sports fans, to the point where the artist even herself referenced \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">“pissing off a few dads, Brads and Chads”\u003c/a> by being shown on TV when “just there to support Travis.” And as a \u003ca href=\"https://www.nytimes.com/2024/01/25/style/taylor-swift-nfl-broadcasts.html\">\u003ci>New York Times \u003c/i>analysis found, Swift has only been shown for under 30 seconds per game\u003c/a>, and the discussion around her dating life is mostly on social media rather than during the game itself.\u003c/p>\n\u003cp>“For you to make such a big deal about it for those 30, 40 seconds that she does show up in the three-hour livestream?” Li Sam says. “I don’t know, that says a lot about you.”\u003c/p>\n\u003cfigure id=\"attachment_13951943\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2.jpg\" alt=\"A woman with long brown hair is photographed standing at an outdoor stadium concert, leaning forward and smiling broadly, with huge crowds behind her.\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Silvia-Crop-2-160x171.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Silvia Li Sam, Taylor Swift fan, pictured at a Swift show. \u003ccite>(Courtesy Silvia Li Sam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A new era?\u003c/h2>\n\u003cp>South San Francisco elementary school teacher Amanda Sterner \u003ci>is \u003c/i>a longstanding football fan as well as a Swiftie — but she says, “Institutions are disappearing because they aren’t growing with the times … Any institution has to grow with the audience.”\u003c/p>\n\u003cp>“And if you want the NFL to be successful, you need to be able to bring in younger people and people who historically haven’t watched — like women,” Sterner says.\u003c/p>\n\u003cp>A self-described “lifelong Niners fan,” Sterner says she’ll be rooting for her home team on Sunday and is particularly excited to see if \u003ca href=\"https://deadspin.com/sf-49ers-kc-chiefs-super-bowl-nfl-patriots-cowboys-1851227549\">the Niners can get their sixth win after winning five games in the 90s\u003c/a>. However, she will be repping Swifties when watching the game by proudly wearing \u003ca href=\"https://www.marieclaire.com.au/life/taylor-swift-eras-explained/\">“my 49ers era” glittery sweater, she says\u003c/a>.\u003c/p>\n\u003cp>“I do, of course, always hope [for] the best for Travis Kelce. I think he’s amazing,” she says. But she says she’s also anxious about “\u003ca href=\"https://www.espn.com/nfl/game/_/gameId/401131047\">what happened the last time the Chiefs and Niners made it to the Super Bowl in 2020,\u003c/a>” with a 31–20 victory for the Chiefs — a scant month before the COVID-19 pandemic sent the world into lockdown. “I desperately hope that the Niners win because\u003ca href=\"https://www.kqed.org/news/11974954/how-to-enjoy-the-super-bowl-in-the-bay-area-if-you-dont-follow-football\"> I don’t want a repeat of everything else that happened in that year,\u003c/a>” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sterner says she’s also looking at the possible pros for Swift if the Chiefs lose. The artist, \u003ca href=\"https://www.vox.com/culture/22278732/taylor-swift-re-recording-1989-speak-now-enchanted-mine-master-rights-scooter-braun\">who has been re-recording her back catalog in recent years\u003c/a>, has yet to announce her re-recording of her sixth album \u003ci>Reputation\u003c/i> — and if Kelce loses the Super Bowl, the couple could “be in their \u003ci>Reputation \u003c/i>era together,” Sterner says.\u003c/p>\n\u003cp>Sterner, like many fans, was expecting that \u003ci>Reputation \u003c/i>announcement during the Grammys — but instead got the news of an entirely new album, which will be coming in April. While fans are ecstatic, it has thrown many off who have been trying to solve the many puzzles Taylor Swift has an affinity for creating around her music lore.\u003c/p>\n\u003cp>“Everybody’s like, ‘Oh my God, [the Super Bowl is] the 13th game,’” Sterner says, referencing Swift’s infamous lucky number 13. “‘And it’s a 13-hour flight from Tokyo, and like …’ It’s all really funny.”\u003c/p>\n\u003cp>“We must sound the way flat Earthers sound,” Sterner says. “And we’re like, ‘But it all adds up!’”\u003c/p>\n\u003cp>Sterner teaches at a school that mandates uniforms, but the rules have been temporarily relaxed these last weeks to allow kids to don their best Niners gear.\u003c/p>\n\u003cp>“There’s that sense of togetherness that comes from your home team being in the Super Bowl that just makes everybody feel like you’re a part of something,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13951944\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2.jpg\" alt=\"A woman smiles into the camera wearing a white shirt, a black hat and heart-shaped red sunglasses\" width=\"600\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Amanda-Crop-2-160x165.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Amanda Sterner \u003ccite>(Courtesy Amanda Sterner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>I’m on the bleachers\u003c/h2>\n\u003cp>My conclusion, based on the Bay Area fans I spoke with? Our Swifties are ultimately loyal to the San Francisco 49ers, albeit not without some internal conflict.\u003c/p>\n\u003cp>But what do \u003ci>I\u003c/i> want?\u003c/p>\n\u003cp>Do I want my home to be happy? Of course.\u003c/p>\n\u003cp>But do I want misogynists who have been projecting their hatred onto Swift to be happy? No. Am I concerned that many are now rooting for San Francisco — \u003ca href=\"https://www.kqed.org/news/11960940/the-bay-areas-your-home-whats-the-real-story-of-living-here\">their erstwhile progressive boogeyman\u003c/a> — \u003ci>just because\u003c/i> they hate Swift? Yes.\u003c/p>\n\u003cp>It’s a struggle for me. \u003ca href=\"https://youtu.be/esHHwgvG_lw?feature=shared&t=12\">I’ll guess I’ll play both sides, so I always come up on top\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
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"content": "\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>[aside postid='arts_13951471']The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gzlpHYXIzdY\u003c/p>\n\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>[aside postid='arts_13951430']The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FMKQIgh85Kk\u003c/p>\n\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gzlpHYXIzdY'\n title='//www.youtube.com/embed/gzlpHYXIzdY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\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/FMKQIgh85Kk'\n title='//www.youtube.com/embed/FMKQIgh85Kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-trends-of-2023",
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
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"headTitle": "The Bay Area’s Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
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"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "UC Berkeley's Taylor Swift Business Class Set for 2024",
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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": "'This is Getting Good Now': Bay Area Fans Brace Themselves for Taylor Swift's '1989' Album Re-Release",
"headTitle": "‘This is Getting Good Now’: Bay Area Fans Brace Themselves for Taylor Swift’s ‘1989’ Album Re-Release | KQED",
"content": "\u003cp>Ava Jeffs was a sophomore in high school, listening to music and cooking her mom’s favorite meal: braised short rib with parmesan risotto.\u003c/p>\n\u003cp>Jeffs loved cooking — especially for other people. But Jeffs was struggling with an eating disorder — and her love for cooking felt like a constant battle in her head.\u003c/p>\n\u003cp>Then she heard the lyrics:\u003c/p>\n\u003cp>\u003ci>When I was drowning… that’s when I could finally breathe. \u003c/i>\u003c/p>\n\u003cp>“I remember tasting the dish, and then I went outside, and it started raining, and it was just a very cathartic experience for me. It almost seemed unreal at the time,” Jeffs, now 19, says. For her, “the song is about the first time that I really felt clean of all of those negative feelings that came along with food.”\u003c/p>\n\u003cp>The song was Taylor Swift’s “Clean,” from her pop-crossover magnum opus, \u003ci>1989\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1o3iE_2yCU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s the song that inspired Jeffs’ college admission essay to Stanford University, where she now studies computer science.\u003c/p>\n\u003ch2>In Palo Alto:\u003c/h2>\n\u003cp>Next spring, Jeffs — as a sophomore — will teach a class at Stanford about Taylor Swift that examines the singer’s storytelling abilities.\u003c/p>\n\u003cp>“That song just got me through such a hard time and is one of the reasons why I’m here,” she says. “So it’s almost like paying back by doing this class and showing other people how they can get the same thing out of songs if they are able to read something in a specific way.”\u003c/p>\n\u003cp>The class is called “The Last Great American Songwriter” — a reference to Swift’s song “the last great american dynasty” on her album \u003ci>folklore\u003c/i>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@avathearcher13/video/7247579884904615211\" data-video-id=\"7247579884904615211\">\n\u003csection>\u003ca title=\"@avathearcher13\" href=\"https://www.tiktok.com/@avathearcher13?refer=embed\" target=\"_blank\" rel=\"noopener\">@avathearcher13\u003c/a> LET THE GAMES BEGIN \u003ca title=\"swifttok\" href=\"https://www.tiktok.com/tag/swifttok?refer=embed\" target=\"_blank\" rel=\"noopener\">#swifttok\u003c/a> \u003ca title=\"erastour\" href=\"https://www.tiktok.com/tag/erastour?refer=embed\" target=\"_blank\" rel=\"noopener\">#erastour\u003c/a> \u003ca title=\"♬ ...Ready For It? - Taylor Swift\" href=\"https://www.tiktok.com/music/Ready-For-It-6752003161755486209?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ …Ready For It? – Taylor Swift\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://www.tiktok.com/embed.js\">\u003c/script>\u003c/p>\n\u003cp>“There has been some pushback about there being a class like this at a university like Stanford,” Jeffs says. But that’s exactly why she wanted to create it. “I think that a lot of the time, songwriting as a medium of art and storytelling is undervalued, and I want it to be valued.”\u003c/p>\n\u003cfigure id=\"attachment_13937096\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED.jpg\" alt=\"Two you people wearing eccentric outfits walk up a flight of stairs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Swifties run up the stairs to see “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeffs is one of thousands of Bay Area fans bracing for the release of \u003ci>1989 (Taylor’s Version)\u003c/i> on Friday.\u003c/p>\n\u003cp>\u003ci>1989\u003c/i> originally came out a decade ago — and \u003ci>Taylor’s Version \u003c/i>is the artist’s project to \u003ca href=\"https://www.vox.com/culture/22278732/taylor-swift-re-recording-1989-speak-now-enchanted-mine-master-rights-scooter-braun\">re-record her back catalog in order to fully own her masters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theverge.com/2023/1/17/23558679/taylor-swift-music-industry-streaming-spotify-eras-tour-midnights-ticketmaster\">Re-recording is not a new concept for artists\u003c/a>. But Swift’s journey back to her old music, revisiting the raw emotions of her teens and twenties, has only given more momentum to an already — let’s say — passionate fandom. Especially \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">amid Swift’s record-breaking Eras Tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13937097\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED.jpg\" alt=\"Movie theater butter is drizzled over a large tub of popcorn with photos of Taylor Swift on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Swiftie pours butter onto their popcorn before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there is no shortage of gatherings for Swifties: Drag shows, themed parties, and, of course, karaoke.\u003c/p>\n\u003ch2>In Emeryville:\u003c/h2>\n\u003cp>At Bay Street Emeryville’s outdoor terrace on Oct. 19, 11-year-old Jaionna Stanfield gave a lively rendition of the \u003ci>1989 \u003c/i>single, “Shake It Off.”\u003c/p>\n\u003cp>“She’s just so nice and kind, and she’s just a very good singer,” Stanfield says. “She’s so pretty and beautiful, and that’s all.”\u003c/p>\n\u003cfigure id=\"attachment_13937109\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1.jpg\" alt=\"Two photos side by side. On the left, A person dressed in drag sings. On the right, Several people, one dressed in drag, laugh together.\" width=\"2400\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1536x507.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-2048x676.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1920x634.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Left: Drag queen Luz Lips lip syncs to Taylor Swift’s “Look What You Made Me Do” at Bay Street Emeryville’s Bay Break Thursdays Drag Jindo in Emeryville on Oct. 26, 2023. Right: Zorayda Chavez (center) is wins a Taylor Swift inspired friendship bracelet. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift attracts fans of all ages — especially those who grew up with her music and relied on her songs to get them through anxiety and heartbreak. At Bay Street Emeryville, 30-year-old Aireonna Westbrook says she can get up on a stage and sing in front of complete strangers (she sang “22”) because of Taylor Swift.\u003c/p>\n\u003cp>“I’m not normally an extroverted person, but that’s how she makes me feel,” she says. “Just be bold, be yourself, and just go full throttle with everything.”\u003c/p>\n\u003ch2>\u003cb>In San Francisco:\u003c/b>\u003c/h2>\n\u003cp>In addition to local fan events, Swift is also on the silver screen, with her concert film of the Eras tour premiering earlier this month — a far more affordable, accessible way to enjoy the tour whose \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">tickets were notoriously pricey and hard to buy due to Ticketmaster’s monopoly on the live music industry\u003c/a>.\u003c/p>\n\u003cp>On Friday the 13th — the singer’s favorite number, and under a full moon — the San Francisco Alamo Drafthouse’s theater lobby was buzzing with joy \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswiftfriendshipbracelets\">as Swifties traded friendship bracelets before the show\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13937094\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED.jpg\" alt=\"A group of nine people pose for a photo in front of a poster of Taylor Swift.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Swifties pose with a Taylor Swift poster as they arrive to see “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amanda Sterner brought two sets of friendship bracelets to give out: classic bracelets with lyrics and album titles and “unhinged” bracelets with deep cuts to Swiftie lore. (One bracelet read “RIP Scooter,” \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a29807801/taylor-swift-scooter-braun-scott-borchetta-tyrannical-control-amas-netflix-doc/\">referencing the music producer Scooter Braun with whom Swift had grievances in the battle to own her music\u003c/a>.)\u003c/p>\n\u003cp>Sterner is an elementary school teacher who looks forward to turning her students into Swifties using \u003ca href=\"https://www.youtube.com/watch?v=3YmMNpbFjp0\">pre-recorded buttons in her classroom\u003c/a>.\u003c/p>\n\u003cp>“So when they don’t put their name on a paper, it goes, ‘I’ve\u003ca href=\"https://youtu.be/e-ORhEE9VVg?feature=shared&t=84\"> got a blank space, baby, and I’ll write your name\u003c/a>.’ Or when they’re being really loud, there’s another one that [goes], ‘\u003ca href=\"https://youtu.be/Dkk9gvTmCXY?feature=shared&t=53\">You need to calm down, you’re being too loud\u003c/a>,’” Sterner says.\u003c/p>\n\u003cp>When you ask a fan why they are so drawn to Taylor Swift — you will get a range of answers.\u003c/p>\n\u003cp>Her lyricism conjures vivid imagery: “You can hear every drop of the leaves falling, and then you can see a picture of her dancing in the refrigerator light.” Michael Micael, a movie attendee, says of the song “All Too Well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tollGa3S0o8\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Regarding the pure nostalgia of revisiting her songs: “[Taylor Swift] really embraces what it means to go through girlhood and to experience those really turbulent emotions that you go through in your maturing,” Jeffs says.\u003c/p>\n\u003cp>Swift’s music reminds some fans of the memories it holds with their families. “My dad is always really into female artists who play their own instruments. And I remember when her self-titled [album] came out, and he was like, ‘One of these girls plays guitar,’” says Courtney Carlomagno, wearing a shirt depicting Swift as Jesus Christ.\u003c/p>\n\u003cfigure id=\"attachment_13937095\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED.jpg\" alt=\"A persons wrists wear eight different bracelets with letters and bright beads on them. The person also holds a carribeaner with dozens more bracelets.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Samson, 16, shows off her carabiner of friendship bracelets to trade while waiting in line for merch before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps Christine Chen, arms also donned with friendship bracelets, says it best: “There’s just something for every mood or every type of Taylor fan.”\u003c/p>\n\u003cp>Pop. Country. Folk. Feeling contemplative? \u003ci>folklore \u003c/i>or \u003ci>evermore\u003c/i>. Angry? \u003ci>Reputation.\u003c/i>\u003c/p>\n\u003cp>“Because we’re not homogenous, right? We don’t all love the same things,” Chen says. “We all love different aspects of her and her music.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ava Jeffs was a sophomore in high school, listening to music and cooking her mom’s favorite meal: braised short rib with parmesan risotto.\u003c/p>\n\u003cp>Jeffs loved cooking — especially for other people. But Jeffs was struggling with an eating disorder — and her love for cooking felt like a constant battle in her head.\u003c/p>\n\u003cp>Then she heard the lyrics:\u003c/p>\n\u003cp>\u003ci>When I was drowning… that’s when I could finally breathe. \u003c/i>\u003c/p>\n\u003cp>“I remember tasting the dish, and then I went outside, and it started raining, and it was just a very cathartic experience for me. It almost seemed unreal at the time,” Jeffs, now 19, says. For her, “the song is about the first time that I really felt clean of all of those negative feelings that came along with food.”\u003c/p>\n\u003cp>The song was Taylor Swift’s “Clean,” from her pop-crossover magnum opus, \u003ci>1989\u003c/i>.\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/s1o3iE_2yCU'\n title='//www.youtube.com/embed/s1o3iE_2yCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the song that inspired Jeffs’ college admission essay to Stanford University, where she now studies computer science.\u003c/p>\n\u003ch2>In Palo Alto:\u003c/h2>\n\u003cp>Next spring, Jeffs — as a sophomore — will teach a class at Stanford about Taylor Swift that examines the singer’s storytelling abilities.\u003c/p>\n\u003cp>“That song just got me through such a hard time and is one of the reasons why I’m here,” she says. “So it’s almost like paying back by doing this class and showing other people how they can get the same thing out of songs if they are able to read something in a specific way.”\u003c/p>\n\u003cp>The class is called “The Last Great American Songwriter” — a reference to Swift’s song “the last great american dynasty” on her album \u003ci>folklore\u003c/i>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@avathearcher13/video/7247579884904615211\" data-video-id=\"7247579884904615211\">\n\u003csection>\u003ca title=\"@avathearcher13\" href=\"https://www.tiktok.com/@avathearcher13?refer=embed\" target=\"_blank\" rel=\"noopener\">@avathearcher13\u003c/a> LET THE GAMES BEGIN \u003ca title=\"swifttok\" href=\"https://www.tiktok.com/tag/swifttok?refer=embed\" target=\"_blank\" rel=\"noopener\">#swifttok\u003c/a> \u003ca title=\"erastour\" href=\"https://www.tiktok.com/tag/erastour?refer=embed\" target=\"_blank\" rel=\"noopener\">#erastour\u003c/a> \u003ca title=\"♬ ...Ready For It? - Taylor Swift\" href=\"https://www.tiktok.com/music/Ready-For-It-6752003161755486209?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ …Ready For It? – Taylor Swift\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://www.tiktok.com/embed.js\">\u003c/script>\u003c/p>\n\u003cp>“There has been some pushback about there being a class like this at a university like Stanford,” Jeffs says. But that’s exactly why she wanted to create it. “I think that a lot of the time, songwriting as a medium of art and storytelling is undervalued, and I want it to be valued.”\u003c/p>\n\u003cfigure id=\"attachment_13937096\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED.jpg\" alt=\"Two you people wearing eccentric outfits walk up a flight of stairs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-011-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Swifties run up the stairs to see “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeffs is one of thousands of Bay Area fans bracing for the release of \u003ci>1989 (Taylor’s Version)\u003c/i> on Friday.\u003c/p>\n\u003cp>\u003ci>1989\u003c/i> originally came out a decade ago — and \u003ci>Taylor’s Version \u003c/i>is the artist’s project to \u003ca href=\"https://www.vox.com/culture/22278732/taylor-swift-re-recording-1989-speak-now-enchanted-mine-master-rights-scooter-braun\">re-record her back catalog in order to fully own her masters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theverge.com/2023/1/17/23558679/taylor-swift-music-industry-streaming-spotify-eras-tour-midnights-ticketmaster\">Re-recording is not a new concept for artists\u003c/a>. But Swift’s journey back to her old music, revisiting the raw emotions of her teens and twenties, has only given more momentum to an already — let’s say — passionate fandom. Especially \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">amid Swift’s record-breaking Eras Tour\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13937097\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937097\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED.jpg\" alt=\"Movie theater butter is drizzled over a large tub of popcorn with photos of Taylor Swift on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-017-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Swiftie pours butter onto their popcorn before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there is no shortage of gatherings for Swifties: Drag shows, themed parties, and, of course, karaoke.\u003c/p>\n\u003ch2>In Emeryville:\u003c/h2>\n\u003cp>At Bay Street Emeryville’s outdoor terrace on Oct. 19, 11-year-old Jaionna Stanfield gave a lively rendition of the \u003ci>1989 \u003c/i>single, “Shake It Off.”\u003c/p>\n\u003cp>“She’s just so nice and kind, and she’s just a very good singer,” Stanfield says. “She’s so pretty and beautiful, and that’s all.”\u003c/p>\n\u003cfigure id=\"attachment_13937109\" class=\"wp-caption alignnone\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1.jpg\" alt=\"Two photos side by side. On the left, A person dressed in drag sings. On the right, Several people, one dressed in drag, laugh together.\" width=\"2400\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1536x507.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-2048x676.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-DIP-1-JY-KQED-1-1920x634.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Left: Drag queen Luz Lips lip syncs to Taylor Swift’s “Look What You Made Me Do” at Bay Street Emeryville’s Bay Break Thursdays Drag Jindo in Emeryville on Oct. 26, 2023. Right: Zorayda Chavez (center) is wins a Taylor Swift inspired friendship bracelet. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift attracts fans of all ages — especially those who grew up with her music and relied on her songs to get them through anxiety and heartbreak. At Bay Street Emeryville, 30-year-old Aireonna Westbrook says she can get up on a stage and sing in front of complete strangers (she sang “22”) because of Taylor Swift.\u003c/p>\n\u003cp>“I’m not normally an extroverted person, but that’s how she makes me feel,” she says. “Just be bold, be yourself, and just go full throttle with everything.”\u003c/p>\n\u003ch2>\u003cb>In San Francisco:\u003c/b>\u003c/h2>\n\u003cp>In addition to local fan events, Swift is also on the silver screen, with her concert film of the Eras tour premiering earlier this month — a far more affordable, accessible way to enjoy the tour whose \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">tickets were notoriously pricey and hard to buy due to Ticketmaster’s monopoly on the live music industry\u003c/a>.\u003c/p>\n\u003cp>On Friday the 13th — the singer’s favorite number, and under a full moon — the San Francisco Alamo Drafthouse’s theater lobby was buzzing with joy \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswiftfriendshipbracelets\">as Swifties traded friendship bracelets before the show\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13937094\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED.jpg\" alt=\"A group of nine people pose for a photo in front of a poster of Taylor Swift.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-002-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Swifties pose with a Taylor Swift poster as they arrive to see “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amanda Sterner brought two sets of friendship bracelets to give out: classic bracelets with lyrics and album titles and “unhinged” bracelets with deep cuts to Swiftie lore. (One bracelet read “RIP Scooter,” \u003ca href=\"https://www.cosmopolitan.com/entertainment/celebs/a29807801/taylor-swift-scooter-braun-scott-borchetta-tyrannical-control-amas-netflix-doc/\">referencing the music producer Scooter Braun with whom Swift had grievances in the battle to own her music\u003c/a>.)\u003c/p>\n\u003cp>Sterner is an elementary school teacher who looks forward to turning her students into Swifties using \u003ca href=\"https://www.youtube.com/watch?v=3YmMNpbFjp0\">pre-recorded buttons in her classroom\u003c/a>.\u003c/p>\n\u003cp>“So when they don’t put their name on a paper, it goes, ‘I’ve\u003ca href=\"https://youtu.be/e-ORhEE9VVg?feature=shared&t=84\"> got a blank space, baby, and I’ll write your name\u003c/a>.’ Or when they’re being really loud, there’s another one that [goes], ‘\u003ca href=\"https://youtu.be/Dkk9gvTmCXY?feature=shared&t=53\">You need to calm down, you’re being too loud\u003c/a>,’” Sterner says.\u003c/p>\n\u003cp>When you ask a fan why they are so drawn to Taylor Swift — you will get a range of answers.\u003c/p>\n\u003cp>Her lyricism conjures vivid imagery: “You can hear every drop of the leaves falling, and then you can see a picture of her dancing in the refrigerator light.” Michael Micael, a movie attendee, says of the song “All Too Well.”\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/tollGa3S0o8'\n title='//www.youtube.com/embed/tollGa3S0o8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Regarding the pure nostalgia of revisiting her songs: “[Taylor Swift] really embraces what it means to go through girlhood and to experience those really turbulent emotions that you go through in your maturing,” Jeffs says.\u003c/p>\n\u003cp>Swift’s music reminds some fans of the memories it holds with their families. “My dad is always really into female artists who play their own instruments. And I remember when her self-titled [album] came out, and he was like, ‘One of these girls plays guitar,’” says Courtney Carlomagno, wearing a shirt depicting Swift as Jesus Christ.\u003c/p>\n\u003cfigure id=\"attachment_13937095\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED.jpg\" alt=\"A persons wrists wear eight different bracelets with letters and bright beads on them. The person also holds a carribeaner with dozens more bracelets.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/20231013-Swifties-008-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elisheva Samson, 16, shows off her carabiner of friendship bracelets to trade while waiting in line for merch before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct. 13, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps Christine Chen, arms also donned with friendship bracelets, says it best: “There’s just something for every mood or every type of Taylor fan.”\u003c/p>\n\u003cp>Pop. Country. Folk. Feeling contemplative? \u003ci>folklore \u003c/i>or \u003ci>evermore\u003c/i>. Angry? \u003ci>Reputation.\u003c/i>\u003c/p>\n\u003cp>“Because we’re not homogenous, right? We don’t all love the same things,” Chen says. “We all love different aspects of her and her music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
"headTitle": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House | KQED",
"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too",
"headTitle": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too | KQED",
"content": "\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.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=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, 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\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\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>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13935703']When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13935566']Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>[aside postid='arts_13933011']Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.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=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, 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\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\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>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Taylor Swift-Travis Kelce Relationship News is a Gift to the NFL",
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"content": "\u003cp>The NFL didn’t need a popularity boost before Travis Kelce became enchanted with Taylor Swift.\u003c/p>\n\u003cp>They’ll gladly welcome millions of Swifties to watch this love story unfold.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The biggest news that came out of Week 3 wasn’t Tua Tagovailoa and the Miami Dolphins lighting up the scoreboard against Denver with only the fourth 70-point performance in NFL history.\u003c/p>\n\u003cp>It wasn’t Arizona shocking Dallas, Houston upsetting Jacksonville or Matt Gay kicking four 50-yard field goals to help Indianapolis knock off Baltimore.\u003c/p>\n\u003cp>Instead, Swift stole the headlines by simply showing up at Arrowhead Stadium to watch Kelce and the defending Super Bowl champion Kansas City Chiefs destroy the woeful Chicago Bears. The pop star joined Donna Kelce in a suite and mesmerized the world with her high-fiving, glass-pounding, chest-bumping enthusiasm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift then left the stadium with Kelce and accompanied the four-time All-Pro tight end to an after-party with his teammates.\u003c/p>\n\u003cp>Two-time Super Bowl MVP Patrick Mahomes was impressed.\u003c/p>\n\u003cp>“She was really cool. Good people,” Mahomes said.\u003c/p>\n\u003cp>Andy Reid joked that he played matchmaker.\u003c/p>\n\u003cp>“I set them up. She’s tremendous at everything she does. I haven’t got to meet her, but if she ends up with Travis, I’ll probably get to meet her,” Reid said.\u003c/p>\n\u003cp>Even Bill Belichick shared his thoughts on America’s newest power couple.\u003c/p>\n\u003cp>“Well, I would say that Travis Kelce’s had a lot of big catches in his career. This would be the biggest,” Belichick said in a radio interview on WEEI in Boston.\u003c/p>\n\u003cp>There’s no shaking off the Swift-Kelce buzz if the NFL’s grumpiest coach is dropping lines about their possible relationship.\u003c/p>\n\u003cp>Everything really has changed.\u003c/p>\n\u003cp>[aside postid='arts_13926435']Kelce’s No. 87 jersey sales skyrocketed this week, spiking 400%. Television ratings for the Bears-Chiefs game soared despite the lopsided score. A total of 24.3 million viewers tuned in, making it the second-most watched game this season.\u003c/p>\n\u003cp>Dallas Mavericks owner Mark Cuban took notice.\u003c/p>\n\u003cp>“Like literally, she impacts economies when she brings her tour to a city,” Cuban said on ESPN’s First Take. “She is literally the most popular artist on the planet right now, not even close. So what I’m going to tell ya, Taylor, if you are listening, sorry Travis, break up with him. I got a bunch of good looking, single guys that play for the Dallas Mavericks. I gotchu, I gotchu.”\u003c/p>\n\u003cp>Kelce responded on X, formerly known as Twitter, telling Cuban to sign him to a 10-day contract.\u003c/p>\n\u003cp>Kelce, who joked about paparazzi staking out his house, has had plenty of fun in the spotlight but he plans to keep things quiet going forward.\u003c/p>\n\u003cp>“What’s real is that it is my personal life. I want to respect both of our lives,” he told his brother, Eagles All-Pro center Jason Kelce, on the \u003cem>New Heights with Jason and Travis Kelce\u003c/em> podcast.\u003c/p>\n\u003cp>But, two is better than one. So, Swift is reportedly heading to MetLife Stadium to see Kelce and the Chiefs take on the Aaron Rodgers-less New York Jets on Sunday Night Football.\u003c/p>\n\u003cp>[aside postid='arts_13873945']That’s another big win for the NFL since it’ll be difficult for the Jets to keep up with the high-flying Chiefs if Zach Wilson is still their quarterback. He should be since the team only signed Trevor Siemian this week. If the score gets out of control, expect the Swifties to stick with the NBC broadcast to see when the television cameras pan to the 12-time Grammy Award winner.\u003c/p>\n\u003cp>Betting sites are offering odds on how much face time Swift gets during the game, what color she will wear, which broadcaster says her name first, who she’ll sit with and much more.\u003c/p>\n\u003cp>Nobody reaps the benefit of this relationship more than the NFL, which already was doing just fine before Swift crashed the stadium and brought her 367 million followers on Instagram and X to the party.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The attention exceeds even the league’s wildest dreams.\u003c/p>\n\n",
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"excerpt": "The second-most watched game this season was one between the Chicago Bears and Kansas City Chiefs. Why? Taylor Swift.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest news that came out of Week 3 wasn’t Tua Tagovailoa and the Miami Dolphins lighting up the scoreboard against Denver with only the fourth 70-point performance in NFL history.\u003c/p>\n\u003cp>It wasn’t Arizona shocking Dallas, Houston upsetting Jacksonville or Matt Gay kicking four 50-yard field goals to help Indianapolis knock off Baltimore.\u003c/p>\n\u003cp>Instead, Swift stole the headlines by simply showing up at Arrowhead Stadium to watch Kelce and the defending Super Bowl champion Kansas City Chiefs destroy the woeful Chicago Bears. The pop star joined Donna Kelce in a suite and mesmerized the world with her high-fiving, glass-pounding, chest-bumping enthusiasm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift then left the stadium with Kelce and accompanied the four-time All-Pro tight end to an after-party with his teammates.\u003c/p>\n\u003cp>Two-time Super Bowl MVP Patrick Mahomes was impressed.\u003c/p>\n\u003cp>“She was really cool. Good people,” Mahomes said.\u003c/p>\n\u003cp>Andy Reid joked that he played matchmaker.\u003c/p>\n\u003cp>“I set them up. She’s tremendous at everything she does. I haven’t got to meet her, but if she ends up with Travis, I’ll probably get to meet her,” Reid said.\u003c/p>\n\u003cp>Even Bill Belichick shared his thoughts on America’s newest power couple.\u003c/p>\n\u003cp>“Well, I would say that Travis Kelce’s had a lot of big catches in his career. This would be the biggest,” Belichick said in a radio interview on WEEI in Boston.\u003c/p>\n\u003cp>There’s no shaking off the Swift-Kelce buzz if the NFL’s grumpiest coach is dropping lines about their possible relationship.\u003c/p>\n\u003cp>Everything really has changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kelce’s No. 87 jersey sales skyrocketed this week, spiking 400%. Television ratings for the Bears-Chiefs game soared despite the lopsided score. A total of 24.3 million viewers tuned in, making it the second-most watched game this season.\u003c/p>\n\u003cp>Dallas Mavericks owner Mark Cuban took notice.\u003c/p>\n\u003cp>“Like literally, she impacts economies when she brings her tour to a city,” Cuban said on ESPN’s First Take. “She is literally the most popular artist on the planet right now, not even close. So what I’m going to tell ya, Taylor, if you are listening, sorry Travis, break up with him. I got a bunch of good looking, single guys that play for the Dallas Mavericks. I gotchu, I gotchu.”\u003c/p>\n\u003cp>Kelce responded on X, formerly known as Twitter, telling Cuban to sign him to a 10-day contract.\u003c/p>\n\u003cp>Kelce, who joked about paparazzi staking out his house, has had plenty of fun in the spotlight but he plans to keep things quiet going forward.\u003c/p>\n\u003cp>“What’s real is that it is my personal life. I want to respect both of our lives,” he told his brother, Eagles All-Pro center Jason Kelce, on the \u003cem>New Heights with Jason and Travis Kelce\u003c/em> podcast.\u003c/p>\n\u003cp>But, two is better than one. So, Swift is reportedly heading to MetLife Stadium to see Kelce and the Chiefs take on the Aaron Rodgers-less New York Jets on Sunday Night Football.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s another big win for the NFL since it’ll be difficult for the Jets to keep up with the high-flying Chiefs if Zach Wilson is still their quarterback. He should be since the team only signed Trevor Siemian this week. If the score gets out of control, expect the Swifties to stick with the NBC broadcast to see when the television cameras pan to the 12-time Grammy Award winner.\u003c/p>\n\u003cp>Betting sites are offering odds on how much face time Swift gets during the game, what color she will wear, which broadcaster says her name first, who she’ll sit with and much more.\u003c/p>\n\u003cp>Nobody reaps the benefit of this relationship more than the NFL, which already was doing just fine before Swift crashed the stadium and brought her 367 million followers on Instagram and X to the party.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The attention exceeds even the league’s wildest dreams.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It’s #BillionGirlSummer: Taylor, Beyoncé and ‘Barbie’ Made for One Epic Trifecta",
"headTitle": "It’s #BillionGirlSummer: Taylor, Beyoncé and ‘Barbie’ Made for One Epic Trifecta | KQED",
"content": "\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>[aside postid='arts_13924636']#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>[aside postid='arts_13931892']The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\n\u003cp>https://twitter.com/TheSwiftSociety/status/1686886319832616960\u003c/p>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>[aside postid='arts_13931981']Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\n\u003cp>https://twitter.com/BuzzingPop/status/1687670252501368832\u003c/p>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift’s six-night “residency” at Los Angeles’ SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">feverish local coverage\u003c/a> of international pilgrimages, \u003ca href=\"https://www.entrepreneur.com/business-news/a-taylor-swift-inspired-side-hustle-is-making-people/457110\">friendship bracelet\u003c/a>-making, and \u003ca href=\"https://www.metro.net/riding/guide/taylorswift/\">traffic warnings.\u003c/a> But that split-second pop culture purchase was, for me, pure irrationalism.\u003c/p>\n\u003cp>With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For three and a half hours, I too was part of the zeitgeist — a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.\u003c/p>\n\u003cp>Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>#HotGirlSummer is now more specifically #BillionGirlSummer, with \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> already the first woman-directed film to \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">gross more than a billion dollars\u003c/a> and Beyoncé and Swift’s dual stadium tours estimated to gross similarly dizzying amounts, each pumping \u003ca href=\"https://centerforjobs.org/ca/special-reports/special-report-taylor-swifts-impact-on-the-economy-in-los-angeles-county\">even more\u003c/a> into fledgling local economies around the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a city without a center and isolating car culture, for \u003ca href=\"https://lamag.com/music/taylor-swift-sofi-los-angeles-events-specials\">one week Taylor Swift transformed\u003c/a> LA’s stadium into a cathedral — an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving Renaissance to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let’s not deny it, many men — dressed in 50 shades of pink laughing and crying alongside Barbie’s quest to become whole again.\u003c/p>\n\u003cp>A few weeks ago my colleague Brittany Luse hosted \u003ca href=\"https://www.npr.org/2023/07/13/1187572727/wheres-the-song-of-the-summer-plus-the-making-of-beyonces-crazy-in-love\">an episode of her show \u003cem>It’s Been a Minute\u003c/em>\u003c/a> lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from ’90s and early 2000s broadcast monoculture into a streaming era Airpod “me” culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.\u003c/p>\n\u003cp>That rumination, however, was before the \u003cem>Barbie\u003c/em>, Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of \u003ca href=\"http://www.irrationalexuberance.com/definition.htm\">irrational exuberance\u003c/a>.\u003c/p>\n\u003cp>Let’s turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It’s been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor’s next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings — not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The answer is a resounding no. The hype surrounding \u003cem>Barbie\u003c/em>, Beyoncé’s Renaissance, and Taylor’s Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women’s creativity and ownership. Nobody I know of is asking for refunds.\u003c/p>\n\u003cp>At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best — the very opposite of the culture that has defined the recent past — a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm-based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I’m certainly not alone in craving the very opposite.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The ongoing strikes in Hollywood have only added to a downturn for streaming’s eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn’t always build bridges to those beyond one’s own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.\u003c/p>\n\u003cp>On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can’t succeed with borders.\u003c/p>\n\u003cp>In the communal ecstasy of sold-out \u003cem>Barbie \u003c/em>screenings and stadium séance of Beyhives and Swifties — the mood is strategic and intentional inclusion.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé’s House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray — and Barbieland is a pastry inversion of the real-world’s patriarchy: a Palm Springs-style fantasia where walls don’t exist, convertibles are always top-down and Supreme Courts marginalize men for a change.\u003c/p>\n\u003cp>There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the “Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13933021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png\" alt=\"A stadium stage, lit up with columns of flames, shows Taylor Swift performing on large screens.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-11-at-10.59.03-AM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For one week this summer Taylor Swift transformed LA’s SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. \u003ccite>(Bilal Qureshi/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+%23BillionGirlSummer%3A+Taylor%2C+Beyonc%C3%A9+and+%27Barbie%27+made+for+one+epic+trifecta&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "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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"excerpt": "I can't be the only one who recoils at the words 'Swiftie Clara.'",
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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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"title": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed",
"headTitle": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed | KQED",
"content": "\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\n\u003cp>https://www.instagram.com/p/CoHxOQhrTHX/\u003c/p>\n\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>[aside postid='arts_13921777']\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\n\u003cp>https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\u003c/p>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>[aside postid='arts_13861791']Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>[aside postid='arts_13841293']There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\n\u003cp>https://twitter.com/CorbinReiff/status/1620834530889449472\u003c/p>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Worst of 2022",
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"content": "\u003cp>It’s the last week of 2022, and we’ve already compiled the best \u003ca href=\"https://www.kqed.org/arts/13922511/the-20-best-bay-area-albums-of-2022\">albums\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13922385/best-visual-art-bay-area-2022\">art\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13921917/best-dishes-bay-area-2022\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">other beautiful things\u003c/a>. It’s time for some good ol’ grousing about the worst stuff. \u003c/p>\n\u003cp>Yes, we know there were legitimately worse things this year. Those we leave to \u003ca href=\"https://twitter.com/PopCrave/status/1593437785884590080\">the experts\u003c/a>. Here, instead, are our pet peeves, minor inconveniences and other petty grievances from 2022. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ChocoTaco-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" class=\"aligncenter size-medium wp-image-13923075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>The End of the Choco Taco, a Perfect Ice Cream Novelty\u003c/h2>\n\u003cp>I’m still holding out hope that this is a Taco Bell-Mexican Pizza situation, where manufactured scarcity eventually results in a joyous reunion in 2023 of Choco Taco and my mouth — plus millions in profit. But frankly, I don’t know if Klondike is that savvy. We might be burying Choco Tacos in the food graveyard next to Halfsies and Waffle Crisp. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Bipping\u003c/h2>\n\u003cp>In case you’re new to the Bay Area or are blissfully ignorant, this year has seen a rise in bipping: when a car window gets smashed in order to steal goods from inside. It’s an epidemic that has led to cities like San Francisco earning the nickname “Bip City” — a slogan you can buy on shirts and hats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nowadays, getting bipped feels as inevitable as Elon Musk’s destruction of Twitter. Bipping has become a sport for window smashers. In one case, my homie from East Oakland who works as a public educator had his windows bipped — and the culprit didn’t even take his new Jordans from the vehicle’s exposed trunk.\u003c/p>\n\u003cp>I’m tired of it. Seeing shattered glass on the street where a helpless car was parked the night before. Observing a vehicle on the freeway with a flapping piece of plastic covering the gap where a window once happily existed. And though it’s a reflection of the harsh economic disparity in our society — the result of having folks who make billions of dollars parking their Teslas in neighborhoods where others are forced to live on the streets — it needs to stop.\u003c/p>\n\u003cp>It’s time for the bippers to bip off in 2023. \u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg\" alt=\"a white woman in a rhinestone dress with red lipstick on a red carpet\" width=\"800\" height=\"465\" class=\"size-medium wp-image-13921780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Being a Grown-Ass Woman Who Can’t Afford to See Taylor Swift\u003c/h2>\n\u003cp>When I was in my teens in the early-’90s, I could afford to go and see big artists like Tina Turner and Michael Jackson when they came through town because it cost about $30 per ticket. According to the online inflation calculator, that means tickets today for similarly big shows should cost about $75. Instead, we’ve got Bruce Springsteen tickets over here going for $5,000 and Taylor Swift tickets going for $20,000. With a part-time job and pocket money I used to be able to see the greatest pop stars of the day, but now a night out would put me in credit card debt. Ticketmaster is the devil. \u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003ch2>John Fisher\u003c/h2>\n\u003cp>Please, man. Just sell the A’s to the City of Oakland. \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>QR-Code Parking\u003c/h2>\n\u003cp>In order to validate my parking during a recent trip to the local multiplex (at the East Bay shopping plaza whose name rhymes with “Stray Feet”), I: \u003c/p>\n\u003cp>1. Scanned a QR code while inside the parking garage in order to download an app onto my phone — an app whose sole purpose is to allow people to park at this one shopping plaza.\u003c/p>\n\u003cp>2. Created an account on said app, setting a unique eight-character alphanumeric password.\u003c/p>\n\u003cp>3. Learned that I already had an existing account on the app.\u003c/p>\n\u003cp>4. Entered my cell phone number so that the app could text me a one-time password since I had of course long ago forgotten the one I’d originally picked. \u003c/p>\n\u003cp>5. Finally logged onto the app so that I could enter my parking spot, license plate and credit card number — all in a desperate scramble while holding up the line to enter the movie theater.\u003c/p>\n\u003cp>6. Found out that in order to receive the discounted parking rate I had to scan yet another QR code that had now popped up on my phone, using a special QR scanner at some undisclosed location. Sent my child to circle the movie theater looking for said scanner (while I waited in line to buy popcorn).\u003c/p>\n\u003cp>7. Finally scanned the code. Received a $2 discount on my parking fee.\u003c/p>\n\u003cp>Look, I get it: QR codes are one of the new realities of these pandemic times, and I’m not even usually that much of a hater. But it does take a special kind of arrogance to install a (completely unnecessary) QR parking system so confusing and convoluted that it requires four different signs explaining it, all located within a few feet of each other. At least in this case, the codes aren’t taking away all of the human jobs: During a separate visit, so many would-be shoppers were bewildered by the new parking setup that the mall had posted an employee in the garage to field everyone’s questions and complaints. \u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-800x460.png\" alt=\"Three women in colorful, stylist outfits stand together in a line, one shocked, one smiling, one distracted.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13908547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-800x460.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1020x587.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1536x884.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-2048x1178.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1920x1105.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Everything About ‘And Just Like That…’\u003c/h2>\n\u003cp>It was like watching a ten-episode satire about a group of wealthy white idiots who don’t understand Gen Z, POC, or anything LGBTQ+. They also don’t understand comedy. Or podcasts. Or cell phones. Or grief. Or hearing loss. Or \u003ci>Sex and the City\u003c/i>, the show that this dumpster fire was based on. Astoundingly, there will be a Season 2 of \u003cem>And Just Like That…\u003c/em> in 2023 and I — along with everyone else who \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">despised the first season\u003c/a> — will inevitably hate-watch the whole thing. It’s me. Hi. I’m the problem, it’s me. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Box Elder Bugs Crawling Inside Your Ear\u003c/h2>\n\u003cp>I’m not saying this is common, or specific to 2022. But it happened to my wife a few months ago and lemme tell you, it’s just as horrifying as you think. (Since you’re wondering: it turns out the way to get an insect out of one’s ear is to fill it with vegetable oil. The more you know!) \u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Hinge.VP_-800x513.jpg\" alt=\"\" width=\"800\" height=\"513\" class=\"aligncenter size-medium wp-image-13923076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Voice Prompts on Hinge \u003c/h2>\n\u003cp>To hate something, you kind of have to love it too. When Hinge introduced the voice prompt feature in October, it was an exciting time. Suddenly, you could hear someone answer a question, like a real-life conversation! Sometimes it presented a dealbreaker situation: you’d scroll through someone’s profile, slowly becoming intrigued, only to be completely put off by their voice. Or, in a less common scenario, their voice pulled you in. \u003c/p>\n\u003cp>I’ve heard countless terrible jokes, unhinged vocalizations and just … off-putting sounds. Worst of all (or best) are the men who try to deepen their voices to a slow, sexy drawl but end up unintelligibly croaking. Of course, the best-worst ones are often shared amongst friends, leading to late-night sessions where we recount the terrible and hilarious things we’ve heard and then laugh until our sides ache. The voice prompts can be awful, but I hope they never go away — they’re quite vulnerable, really. They reveal how someone hopes to be perceived in the world. And isn’t that what dating’s all about? \u003cem>—Kristie Song\u003c/em> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1366703272-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>That Whole Julia Fox and Kanye West Thing\u003c/h2>\n\u003cp>Just gross on every single conceivable level. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Refusing to Provide Paper Menus\u003c/h2>\n\u003cp>I hate this new ritual with the fire of a thousand suns: the struggle to get your phone’s camera to lock onto a low-res QR code taped to a dimly lit table, only to be taken to ONE GIANT PAGE of available items (starters to desserts, an endless scroll; also here’s our lengthy brunch menu at 8 p.m. — just in case!) and no means of comparing said items with any ease. \u003c/p>\n\u003cp>Restaurant and bar people, I have found you a handy laminator that you can purchase on the internet for just $33! Working printers \u003ca href=\"https://sfbay.craigslist.org/search/zip?query=printer#search=1~gallery~0~0\">show up as free stuff on Craigslist\u003c/a> every gosh darn day! Want to upcharge me for the cost of paper? I WILL PAY FOR THAT. Just please, please, let me peruse an unmediated menu with friends, order some of your delicious things and leave a nice big tip. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003ch2>Using the Term ‘Exclusive’ in a Headline for an Article Which is in No Way Exclusive \u003c/h2>\n\u003cp>You know who you are. This is just embarrassing for all involved. \u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-13923072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>The Double Play Fire\u003c/h2>\n\u003cp>You might think we public media types at KQED sit quietly in our cubicles sipping organic fair trade green tea, but we love a double shot of bourbon with branch water at our neighborhood bar as much as the next shoe-leather reporter. We’ve lost a few of ’em over the past few years (RIP Mission Hill), but seeing the Double Play in cinders hurt like a fastball to the elbow. The last vestige of Seals Stadium, which once stood grandly across the street, the no-nonsense joint with A-1 bartenders made a mean burger \u003cem>and\u003c/em> a stiff vodka tonic. To paraphrase the journalist Pete Hammill, we had a million laughs there, and we have forgotten them all. \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>Teslas\u003c/h2>\n\u003cp>Before 2022, Tesla cars felt largely theoretical. They operated outside of regular people’s field of vision, like scabies. This was the year, however, that Tesla unleashed itself on the mainstream; a shiny tsunami of self-satisfaction whose very existence reminds us that Elon Musk is real. \u003c/p>\n\u003cp>I’m not in the habit of badmouthing electric vehicles, but the smugness inherent in Tesla design is impossible to ignore. Those giant computer screens! Those stupid pop-out door handles! The means of exiting a Tesla is even worse: a single small button inside the car door that’s easily confused with a window opener. It’s a button you must hold down to get it to work; a button that screams: “In an emergency, you won’t be able to get out of here.”\u003c/p>\n\u003cp>About a month ago, I started paying attention to who exactly was driving Teslas in the Bay Area. It took me three whole weeks to see a woman driving one — a reflection of how the opposite sex views Tesla’s CEO, I suppose. And that’s part of the problem. I try extremely hard in my daily life to not think about Elon Musk. This new plethora of Teslas is making that goal nearly impossible. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Telling Women They ‘Still’ Look Good\u003c/h2>\n\u003cp>On multiple occasions when I went out this year, I revealed during small talk with strangers that I’m not a recent college graduate. “You \u003cem>still\u003c/em> look so good for your age!” they’d respond. Are women in their 30s supposed to be shriveled husks? The recent viral tweet about Hillary Duff — the one that marveled at how she ‘still’ looks good at 35 — solidified for me that this is an assumption we need to break up with, stat. \u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ZiplocBrownSugar-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13923074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Ziploc-Top Packaging in General but Especially for Brown Sugar\u003c/h2>\n\u003cp>I don’t know what’s wrong with rubber bands and clothespins as bag-closing tools, but the world seems intent on killing them off. Ziploc-top packaging got more prevalent in 2022, but it’s gotta go. If you do your job as a consumer and rip the sealed top off correctly, then both sides are equal and it’s impossible to dip your thumb in there and open the thing again without employing a SWAT team to separate the two sides. I always have to get some scissors afterward and cut one side lower than the other, so I can grasp each side properly. On top of that, if you’re dealing with a Ziploc opening on a bag of brown sugar, forget it — the sugar chunks gum up the ziploc grooves, so it never seals anyway! Whyyyyyyyyyyyyyyy?!?!?! \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>The New Margarita Situation at Zeitgeist\u003c/h2>\n\u003cp>I have spent the last 20 years sending people to Zeitgeist with a single purpose: Go and drink the greatest margaritas in the whole wide world. I’ve told new and old friends, far and wide. I have told non-drinking friends on the off-chance they one day start drinking again. Refreshing, tart and strong enough to knock down a bear, these margs were everything I ever wanted from an alcoholic beverage. \u003c/p>\n\u003cp>I say “were” because midway through 2022, Zeitgeist stopped making their margaritas to order and started serving them from (*sobs*) a keg. I tried to make the best of it, as I have with all of Zeitgeist’s recent changes. But the keg margaritas are the thing that have finally put me at my limit. Overly sweet and practically alcohol-free, these new margaritas are an affront to the perfect ones Zeitgeist used to serve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ve been informed by one of the bartenders that this new keg margarita is “the same recipe” they’ve always served. Okay, cool, but it doesn’t taste like it. The problem with keg cocktails is that all the alcohol sinks to the bottom. The ratios get thrown off. Whatever comes out of the tap is a crapshoot and in all likelihood the crapshoot is going to taste like, well, crap. \u003cem>—RA\u003c/em>\u003c/p>\n\n",
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"excerpt": "We’ve done ‘the bests’ of 2022. Now it’s time for some good ol’ grousing about the worst stuff.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the last week of 2022, and we’ve already compiled the best \u003ca href=\"https://www.kqed.org/arts/13922511/the-20-best-bay-area-albums-of-2022\">albums\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13922385/best-visual-art-bay-area-2022\">art\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13921917/best-dishes-bay-area-2022\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">other beautiful things\u003c/a>. It’s time for some good ol’ grousing about the worst stuff. \u003c/p>\n\u003cp>Yes, we know there were legitimately worse things this year. Those we leave to \u003ca href=\"https://twitter.com/PopCrave/status/1593437785884590080\">the experts\u003c/a>. Here, instead, are our pet peeves, minor inconveniences and other petty grievances from 2022. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ChocoTaco-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" class=\"aligncenter size-medium wp-image-13923075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ChocoTaco.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>The End of the Choco Taco, a Perfect Ice Cream Novelty\u003c/h2>\n\u003cp>I’m still holding out hope that this is a Taco Bell-Mexican Pizza situation, where manufactured scarcity eventually results in a joyous reunion in 2023 of Choco Taco and my mouth — plus millions in profit. But frankly, I don’t know if Klondike is that savvy. We might be burying Choco Tacos in the food graveyard next to Halfsies and Waffle Crisp. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003ch2>Bipping\u003c/h2>\n\u003cp>In case you’re new to the Bay Area or are blissfully ignorant, this year has seen a rise in bipping: when a car window gets smashed in order to steal goods from inside. It’s an epidemic that has led to cities like San Francisco earning the nickname “Bip City” — a slogan you can buy on shirts and hats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nowadays, getting bipped feels as inevitable as Elon Musk’s destruction of Twitter. Bipping has become a sport for window smashers. In one case, my homie from East Oakland who works as a public educator had his windows bipped — and the culprit didn’t even take his new Jordans from the vehicle’s exposed trunk.\u003c/p>\n\u003cp>I’m tired of it. Seeing shattered glass on the street where a helpless car was parked the night before. Observing a vehicle on the freeway with a flapping piece of plastic covering the gap where a window once happily existed. And though it’s a reflection of the harsh economic disparity in our society — the result of having folks who make billions of dollars parking their Teslas in neighborhoods where others are forced to live on the streets — it needs to stop.\u003c/p>\n\u003cp>It’s time for the bippers to bip off in 2023. \u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg\" alt=\"a white woman in a rhinestone dress with red lipstick on a red carpet\" width=\"800\" height=\"465\" class=\"size-medium wp-image-13921780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Being a Grown-Ass Woman Who Can’t Afford to See Taylor Swift\u003c/h2>\n\u003cp>When I was in my teens in the early-’90s, I could afford to go and see big artists like Tina Turner and Michael Jackson when they came through town because it cost about $30 per ticket. According to the online inflation calculator, that means tickets today for similarly big shows should cost about $75. Instead, we’ve got Bruce Springsteen tickets over here going for $5,000 and Taylor Swift tickets going for $20,000. With a part-time job and pocket money I used to be able to see the greatest pop stars of the day, but now a night out would put me in credit card debt. Ticketmaster is the devil. \u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003ch2>John Fisher\u003c/h2>\n\u003cp>Please, man. Just sell the A’s to the City of Oakland. \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>QR-Code Parking\u003c/h2>\n\u003cp>In order to validate my parking during a recent trip to the local multiplex (at the East Bay shopping plaza whose name rhymes with “Stray Feet”), I: \u003c/p>\n\u003cp>1. Scanned a QR code while inside the parking garage in order to download an app onto my phone — an app whose sole purpose is to allow people to park at this one shopping plaza.\u003c/p>\n\u003cp>2. Created an account on said app, setting a unique eight-character alphanumeric password.\u003c/p>\n\u003cp>3. Learned that I already had an existing account on the app.\u003c/p>\n\u003cp>4. Entered my cell phone number so that the app could text me a one-time password since I had of course long ago forgotten the one I’d originally picked. \u003c/p>\n\u003cp>5. Finally logged onto the app so that I could enter my parking spot, license plate and credit card number — all in a desperate scramble while holding up the line to enter the movie theater.\u003c/p>\n\u003cp>6. Found out that in order to receive the discounted parking rate I had to scan yet another QR code that had now popped up on my phone, using a special QR scanner at some undisclosed location. Sent my child to circle the movie theater looking for said scanner (while I waited in line to buy popcorn).\u003c/p>\n\u003cp>7. Finally scanned the code. Received a $2 discount on my parking fee.\u003c/p>\n\u003cp>Look, I get it: QR codes are one of the new realities of these pandemic times, and I’m not even usually that much of a hater. But it does take a special kind of arrogance to install a (completely unnecessary) QR parking system so confusing and convoluted that it requires four different signs explaining it, all located within a few feet of each other. At least in this case, the codes aren’t taking away all of the human jobs: During a separate visit, so many would-be shoppers were bewildered by the new parking setup that the mall had posted an employee in the garage to field everyone’s questions and complaints. \u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-800x460.png\" alt=\"Three women in colorful, stylist outfits stand together in a line, one shocked, one smiling, one distracted.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13908547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-800x460.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1020x587.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1536x884.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-2048x1178.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-25-at-2.28.49-PM-1920x1105.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Everything About ‘And Just Like That…’\u003c/h2>\n\u003cp>It was like watching a ten-episode satire about a group of wealthy white idiots who don’t understand Gen Z, POC, or anything LGBTQ+. They also don’t understand comedy. Or podcasts. Or cell phones. Or grief. Or hearing loss. Or \u003ci>Sex and the City\u003c/i>, the show that this dumpster fire was based on. Astoundingly, there will be a Season 2 of \u003cem>And Just Like That…\u003c/em> in 2023 and I — along with everyone else who \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">despised the first season\u003c/a> — will inevitably hate-watch the whole thing. It’s me. Hi. I’m the problem, it’s me. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Box Elder Bugs Crawling Inside Your Ear\u003c/h2>\n\u003cp>I’m not saying this is common, or specific to 2022. But it happened to my wife a few months ago and lemme tell you, it’s just as horrifying as you think. (Since you’re wondering: it turns out the way to get an insect out of one’s ear is to fill it with vegetable oil. The more you know!) \u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Hinge.VP_-800x513.jpg\" alt=\"\" width=\"800\" height=\"513\" class=\"aligncenter size-medium wp-image-13923076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Hinge.VP_.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Voice Prompts on Hinge \u003c/h2>\n\u003cp>To hate something, you kind of have to love it too. When Hinge introduced the voice prompt feature in October, it was an exciting time. Suddenly, you could hear someone answer a question, like a real-life conversation! Sometimes it presented a dealbreaker situation: you’d scroll through someone’s profile, slowly becoming intrigued, only to be completely put off by their voice. Or, in a less common scenario, their voice pulled you in. \u003c/p>\n\u003cp>I’ve heard countless terrible jokes, unhinged vocalizations and just … off-putting sounds. Worst of all (or best) are the men who try to deepen their voices to a slow, sexy drawl but end up unintelligibly croaking. Of course, the best-worst ones are often shared amongst friends, leading to late-night sessions where we recount the terrible and hilarious things we’ve heard and then laugh until our sides ache. The voice prompts can be awful, but I hope they never go away — they’re quite vulnerable, really. They reveal how someone hopes to be perceived in the world. And isn’t that what dating’s all about? \u003cem>—Kristie Song\u003c/em> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1366703272-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1366703272-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>That Whole Julia Fox and Kanye West Thing\u003c/h2>\n\u003cp>Just gross on every single conceivable level. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Refusing to Provide Paper Menus\u003c/h2>\n\u003cp>I hate this new ritual with the fire of a thousand suns: the struggle to get your phone’s camera to lock onto a low-res QR code taped to a dimly lit table, only to be taken to ONE GIANT PAGE of available items (starters to desserts, an endless scroll; also here’s our lengthy brunch menu at 8 p.m. — just in case!) and no means of comparing said items with any ease. \u003c/p>\n\u003cp>Restaurant and bar people, I have found you a handy laminator that you can purchase on the internet for just $33! Working printers \u003ca href=\"https://sfbay.craigslist.org/search/zip?query=printer#search=1~gallery~0~0\">show up as free stuff on Craigslist\u003c/a> every gosh darn day! Want to upcharge me for the cost of paper? I WILL PAY FOR THAT. Just please, please, let me peruse an unmediated menu with friends, order some of your delicious things and leave a nice big tip. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003ch2>Using the Term ‘Exclusive’ in a Headline for an Article Which is in No Way Exclusive \u003c/h2>\n\u003cp>You know who you are. This is just embarrassing for all involved. \u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-13923072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/DoublePlay.courtesy.FB_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>The Double Play Fire\u003c/h2>\n\u003cp>You might think we public media types at KQED sit quietly in our cubicles sipping organic fair trade green tea, but we love a double shot of bourbon with branch water at our neighborhood bar as much as the next shoe-leather reporter. We’ve lost a few of ’em over the past few years (RIP Mission Hill), but seeing the Double Play in cinders hurt like a fastball to the elbow. The last vestige of Seals Stadium, which once stood grandly across the street, the no-nonsense joint with A-1 bartenders made a mean burger \u003cem>and\u003c/em> a stiff vodka tonic. To paraphrase the journalist Pete Hammill, we had a million laughs there, and we have forgotten them all. \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>Teslas\u003c/h2>\n\u003cp>Before 2022, Tesla cars felt largely theoretical. They operated outside of regular people’s field of vision, like scabies. This was the year, however, that Tesla unleashed itself on the mainstream; a shiny tsunami of self-satisfaction whose very existence reminds us that Elon Musk is real. \u003c/p>\n\u003cp>I’m not in the habit of badmouthing electric vehicles, but the smugness inherent in Tesla design is impossible to ignore. Those giant computer screens! Those stupid pop-out door handles! The means of exiting a Tesla is even worse: a single small button inside the car door that’s easily confused with a window opener. It’s a button you must hold down to get it to work; a button that screams: “In an emergency, you won’t be able to get out of here.”\u003c/p>\n\u003cp>About a month ago, I started paying attention to who exactly was driving Teslas in the Bay Area. It took me three whole weeks to see a woman driving one — a reflection of how the opposite sex views Tesla’s CEO, I suppose. And that’s part of the problem. I try extremely hard in my daily life to not think about Elon Musk. This new plethora of Teslas is making that goal nearly impossible. \u003cem>—RA\u003c/em>\u003c/p>\n\u003ch2>Telling Women They ‘Still’ Look Good\u003c/h2>\n\u003cp>On multiple occasions when I went out this year, I revealed during small talk with strangers that I’m not a recent college graduate. “You \u003cem>still\u003c/em> look so good for your age!” they’d respond. Are women in their 30s supposed to be shriveled husks? The recent viral tweet about Hillary Duff — the one that marveled at how she ‘still’ looks good at 35 — solidified for me that this is an assumption we need to break up with, stat. \u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/ZiplocBrownSugar-800x560.jpg\" alt=\"\" width=\"800\" height=\"560\" class=\"aligncenter size-medium wp-image-13923074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/ZiplocBrownSugar.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>Ziploc-Top Packaging in General but Especially for Brown Sugar\u003c/h2>\n\u003cp>I don’t know what’s wrong with rubber bands and clothespins as bag-closing tools, but the world seems intent on killing them off. Ziploc-top packaging got more prevalent in 2022, but it’s gotta go. If you do your job as a consumer and rip the sealed top off correctly, then both sides are equal and it’s impossible to dip your thumb in there and open the thing again without employing a SWAT team to separate the two sides. I always have to get some scissors afterward and cut one side lower than the other, so I can grasp each side properly. On top of that, if you’re dealing with a Ziploc opening on a bag of brown sugar, forget it — the sugar chunks gum up the ziploc grooves, so it never seals anyway! Whyyyyyyyyyyyyyyy?!?!?! \u003cem>—GM\u003c/em>\u003c/p>\n\u003ch2>The New Margarita Situation at Zeitgeist\u003c/h2>\n\u003cp>I have spent the last 20 years sending people to Zeitgeist with a single purpose: Go and drink the greatest margaritas in the whole wide world. I’ve told new and old friends, far and wide. I have told non-drinking friends on the off-chance they one day start drinking again. Refreshing, tart and strong enough to knock down a bear, these margs were everything I ever wanted from an alcoholic beverage. \u003c/p>\n\u003cp>I say “were” because midway through 2022, Zeitgeist stopped making their margaritas to order and started serving them from (*sobs*) a keg. I tried to make the best of it, as I have with all of Zeitgeist’s recent changes. But the keg margaritas are the thing that have finally put me at my limit. Overly sweet and practically alcohol-free, these new margaritas are an affront to the perfect ones Zeitgeist used to serve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve been informed by one of the bartenders that this new keg margarita is “the same recipe” they’ve always served. Okay, cool, but it doesn’t taste like it. The problem with keg cocktails is that all the alcohol sinks to the bottom. The ratios get thrown off. Whatever comes out of the tap is a crapshoot and in all likelihood the crapshoot is going to taste like, well, crap. \u003cem>—RA\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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