Pitchfork.tv follows a day in the life of the Queen Diva.

Yesterday, Pitchfork.tv released "Big Freedia - the Queen Diva," a half-hour mini-documentary that has the inescapable footage of p-popping dancers and a tour of Freedia's house and neighborhood, but it also includes scenes from his personal life and a revealing conversation about the business of bounce as his management debates how to take Freedia to the next level. The central question is the problem posed by the "triggerman beat" - the sample that's in the DNA of bounce. It has proved hard to clear, limiting the national reach of the music. Should Freedia embrace bounce even if it keeps her locally prominent but nationally underground, or find a contemporary version of bounce that's less limiting?