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"disqusTitle": "Why Do Reality TV Stars Insist on Making Music?",
"title": "Why Do Reality TV Stars Insist on Making Music?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>[contextly_auto_sidebar]\u003c/p>\n\u003cp>Back in the good old days, the music-career-on-the-side was an endeavor only attempted by actors. The TV actors did it in an attempt to take their careers to the next level -- we’re looking at you, \u003ca href=\"https://www.youtube.com/watch?v=9g5h8jrceec\">Brian Austin Green\u003c/a> and giving you serious side eye, \u003ca href=\"https://www.youtube.com/watch?v=8ti8-vEM3U8\">Uncle Jesse\u003c/a> -- but the movie guys often did it in an attempt to claw back some street cred after accidentally becoming millionaires.\u003c/p>\n\u003cp>In the ‘90s, this meant watching Keanu Reeves staring at his feet in \u003ca href=\"https://www.youtube.com/watch?v=H7TSnE1b-Bs\">Dogstar\u003c/a>, and Johnny Depp collaborating with a Butthole Surfer and trying to look casual about it (that band was called \u003ca href=\"https://www.youtube.com/watch?v=UVKkWvNQzxE\">P\u003c/a>, in case you erased it from memory). At the time, we all assumed these lackluster attempts to break into rock ‘n’ roll were just about the worst things we’d ever deal with in the world of celebrity music crossovers – but that’s because, at the time, reality TV was just a \u003ca href=\"https://vimeo.com/19177327\">\u003cem>Real World\u003c/em>\u003c/a>-shaped twinkle in MTV’s eye.\u003c/p>\n\u003cfigure id=\"attachment_23648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23648\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/maxresdefault-800x450.jpg\" alt=\"Keanu Reeves, in Dogstar. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves, in Dogstar.\u003c/figcaption>\u003c/figure>\n\u003cp>Since the advent of reality television, however, celebrities who were famous for nothing more than living with a camera crew started consistently assuming that the fastest way to a more credible career was via the medium of music. In the early days, this happened repeatedly and, without fail, each and every reality star thought that their music career would be different; that they somehow would get one over on a public who, they refused to acknowledge, really, really didn’t want to hear them sing in the first place.\u003c/p>\n\u003cp>When this phenomena first started in the early 2000s, it became apparent very quickly that even when reality stars made a real effort to put out something musically solid -- or at least something that wouldn’t immediately get you scrambling to the mute button on your TV--- they were still met with indifference and not a small amount of disapproval from the peanut gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2002, emerging on the back of the enormously successful \u003ca href=\"https://en.wikipedia.org/wiki/The_Osbournes\">\u003cem>The Osbournes\u003c/em>\u003c/a>, Kelly Osbourne’s wooden performance in the video for \"\u003ca href=\"https://www.youtube.com/watch?v=WUb5JihqZZQ#t=70\">Papa Don’t Preach\u003c/a>\" might have erred on the side of cringeworthy, but the actual song was on par with -- perhaps even better than --anything Avril Lavigne was doing with more success that year. Osbourne’s follow-up singles, “\u003ca href=\"https://www.youtube.com/watch?v=j8nng0Anvig\">Shut Up\u003c/a>” and “Come Dig Me Out”, certainly out-paced and outsmarted Lavigne’s \"\u003ca href=\"https://www.youtube.com/watch?v=5NPBIwQyPWE\">Complicated\u003c/a>\" and “\u003ca href=\"https://www.youtube.com/watch?v=TIy3n2b7V9k\">Sk8tr Boi\u003c/a>”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q_qE8_BHMrI\u003c/p>\n\u003cp>Still it came to naught.\u003c/p>\n\u003cp>A few years later, Paris Hilton -- who occasionally seemed like an actual Real Human Girl in \u003ca href=\"http://www.imdb.com/title/tt0362153/\">\u003cem>The Simple Life\u003c/em>\u003c/a> -- had a crack at music stardom with “Stars Are Blind” -- a song that was received across the board with a kind shrug, a gentle nod and a muttering of “This actually isn’t that bad.” Which, of course, is code for “I’d listen to this song if Gwen Stefani had recorded it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=joWpYsKere8\u003c/p>\n\u003cp>In 2008, Heidi Montag (poor, dear Heidi Montag) did put some effort into her \u003ca href=\"https://en.wikipedia.org/wiki/The_Hills_(TV_series)\">\u003cem>Hills\u003c/em>\u003c/a>-adjacent foray into music, copying Paris Hilton’s beachy video and being hailed (by people who were surely being paid to do so) as \"\u003ca href=\"https://www.youtube.com/watch?v=wOgA5D10Hvg\">The NEXT Britney Spears!\u003c/a>\" Sadly, Montag's attempts to not sound like a balloon deflating in slow motion failed. (Poor, dear Heidi Montag.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wHZYGrC40Ko\u003c/p>\n\u003cp>All three stars were forced to abandon their music careers shortly after they’d begun, to the disappointment of almost nobody. But what followed was a contagious idea among other reality stars that (a) anyone could have a go, and (b) since it was clearly going to be short-lived, they could just release any old nonsense. The reality star singles that followed were both infuriating in their laziness and -- silver lining! -- a goldmine of unintentional comedy.\u003c/p>\n\u003cp>First, there was Daisy De La Hoya, one of Brett Michaels’ playthings from his (consistently gag-worthy) \u003ca href=\"https://en.wikipedia.org/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)\">\u003cem>Rock Of Love\u003c/em>\u003c/a> dating show. Ms. De La Hoya decided in 2009 that the quickest way to a rock ‘n’ roll career was singing a song titled “Suck It” featuring the immortal refrain: “Girls, they wanna be me! Boys, they wanna do me!” It was just as head-desk terrible as you might imagine, but there was, at least, also a strong possibility that every time you heard this, you laughed until the breath left your lungs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8tul_1hRphI\u003c/p>\n\u003cp>Not to be outdone on the trashiness scale, \u003ca href=\"https://en.wikipedia.org/wiki/Jersey_Shore_(TV_series)\">\u003cem>Jersey Shore\u003c/em>\u003c/a>’s Pauly D decided to release “Beat Dat Beat” a year later. It was a Pitbull-inspired tropical house nightmare with spoken word sections about tanning, being Italian and “only dealing with 9s and 10s in the DJ booth.” It was like Marky Mark & The Funky Bunch went on a bender, stopped being able to do backflips and just started complaining about ugly people:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y0Gpt12psAA\u003c/p>\n\u003cp>Just when we thought things couldn’t get worse, Kim Kardashian’s “Jam” half-emerged. That’s right! This atrocity was so bad, not even the Kardashians wanted it released, even after airing \u003ca href=\"https://www.youtube.com/watch?v=d2uzScEbcws\">Kim in the recording studio\u003c/a> during an episode of \u003ca href=\"http://www.eonline.com/shows/kardashians\">\u003cem>Keeping Up With The Kardashians\u003c/em>\u003c/a>. To this day, it’s impossible to find an entirely finished video to accompany the track. Not even The Dream, a vat of body oil and Kim K’s perfect derriere crawling through a service tunnel could disguise the fact that her singing(?) voice was even more profoundly irritating than the one she speaks with. But hey, rosé up in the air, everybody! (ROSÉ!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHp7sq1Tzn0\u003c/p>\n\u003cp>Astonishingly, in the years that have followed, we’ve only seen the bar set increasingly lower, thanks almost entirely to the squawking banshees of \u003cem>The Real Housewives\u003c/em> franchise. Here’s New York’s Kim Zolciak with “Tardy For The Party,” closely resembling that friend of your mom’s that always drinks too much on national holidays, then passes out on the front lawn:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gIeb7tY3Z6s\u003c/p>\n\u003cp>Another NYC housewife, Countess Luann, went one step further with “Money Can’t Buy You Class,” a track that features so many layers of Auto-Tune, it sounds like she recorded it with her face submerged in a mop bucket. Money can't buy you talent either, sweet cheeks!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kEDvlSAMhQU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Even bit-players from \u003cem>The Real Housewives\u003c/em> got in on recording singles. Do you know who \u003ca href=\"https://www.youtube.com/watch?v=nbRlRUlXWz0#t=20\">Simon Van Kempen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KUcQq1sbWsM#t=63\">Miss Lawrence\u003c/a> are? We don’t either. But someone let those fools into recording booths because, apparently, being on reality television erases the ability to feel shame. Truly, it would now be an impossibility for a reality star to record anything worse than this exercise in humiliation:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nbRlRUlXWz0\u003c/p>\n\u003cp>Today, it’s possible for actors to cross over into legitimate and nerd-approved music careers in a way that simply wasn’t permitted a decade ago. Perhaps many actors’ efforts just don’t seem so bad now that we’re so consistently exposed to the bottom of the barrel by reality stars. That’s not to say many people are clamoring to listen to \u003ca href=\"http://www.baconbros.com/\">The Bacon Brothers\u003c/a> or \u003ca href=\"http://kevincostnermodernwest.com/\">Kevin Costner & Modern West\u003c/a>, and sweet baby Jesus, we wish we'd never found out about Jada Pinkett Smith’s metal band, \u003ca href=\"https://www.youtube.com/watch?v=f56ZtXrx_nw\">Wicked Wisdom\u003c/a>.\u003c/p>\n\u003cp>Truthfully, the established actors who have succeeded in recording music that isn’t just tolerable, but legitimately great, have done so by collaborating with respected artists and not pandering to the biggest potential audience. The two best examples are Zooey Deschanel’s collaboration with indie darling M. Ward, for \u003ca href=\"http://www.sheandhim.com/\">She & Him\u003c/a>, and Ryan Gosling’s foray into artsy horror-themed experimentation with the surprisingly excellent \u003ca href=\"https://en.wikipedia.org/wiki/Dead_Man%27s_Bones\">Dead Man’s Bones\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tpYwHfB7eds\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ni75mYuwvlg\u003c/p>\n\u003cp>What Gosling and Deschanel have in common: You can tell that they’re recording music truthfully and with not a small amount of skill. Neither of them has made their music to get their egos stroked (see Russell Crowe’s \u003ca href=\"https://www.youtube.com/watch?v=lNfomuY2ysg\">30 Odd Foot of Grunts\u003c/a>) or to live out some rock star fantasy (see Jared Leto's \u003ca href=\"https://www.youtube.com/watch?v=Zcps2fJKuAI\">30 Seconds to Mars\u003c/a>) -- they’ve done it because they were compelled to.\u003c/p>\n\u003cp>Last week, reality TV's favorite tattoo artist Kat Von D emerged as a guest vocalist on a single by \u003ca href=\"https://en.wikipedia.org/wiki/Prayers_(rock_duo)\">Prayers\u003c/a>, an underground electro-goth outfit that is garnering a fair amount of underground buzz right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EnA_ADv9J_8\u003c/p>\n\u003cp>\"\u003ca href=\"https://www.youtube.com/watch?v=EnA_ADv9J_8\">Black Leather\u003c/a>\" is Von D’s first foray into music since promising the world an album in 2014, then never actually coming through with one. If she can forge a path into music following her passions rather than her bank balance, she might actually be the first reality star to pull off a real career in music. Also in her favor is the fact that she’s no longer on our televisions every day -- \u003ca href=\"http://www.tlc.com/tv-shows/la-ink/\">\u003cem>LA Ink\u003c/em>\u003c/a> ended all the way back in 2011, and that fact alone gives Von D a shot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GV-v2FDhHbI\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kat Von D is certainly, currently, the reality star most likely to succeed when it comes to branching out into music (she has a multitude of musician friends in respected places and can play actual instruments). But if she can’t do it? Well, I'm not holding my breath -- but it'd be nice to see this trend come to an end, once and for all.\u003c/p>\n\n",
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"excerpt": "A look back at the few hits (and a whole lot of misses) from TV stars who've decided to get musical. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[contextly_auto_sidebar]\u003c/p>\n\u003cp>Back in the good old days, the music-career-on-the-side was an endeavor only attempted by actors. The TV actors did it in an attempt to take their careers to the next level -- we’re looking at you, \u003ca href=\"https://www.youtube.com/watch?v=9g5h8jrceec\">Brian Austin Green\u003c/a> and giving you serious side eye, \u003ca href=\"https://www.youtube.com/watch?v=8ti8-vEM3U8\">Uncle Jesse\u003c/a> -- but the movie guys often did it in an attempt to claw back some street cred after accidentally becoming millionaires.\u003c/p>\n\u003cp>In the ‘90s, this meant watching Keanu Reeves staring at his feet in \u003ca href=\"https://www.youtube.com/watch?v=H7TSnE1b-Bs\">Dogstar\u003c/a>, and Johnny Depp collaborating with a Butthole Surfer and trying to look casual about it (that band was called \u003ca href=\"https://www.youtube.com/watch?v=UVKkWvNQzxE\">P\u003c/a>, in case you erased it from memory). At the time, we all assumed these lackluster attempts to break into rock ‘n’ roll were just about the worst things we’d ever deal with in the world of celebrity music crossovers – but that’s because, at the time, reality TV was just a \u003ca href=\"https://vimeo.com/19177327\">\u003cem>Real World\u003c/em>\u003c/a>-shaped twinkle in MTV’s eye.\u003c/p>\n\u003cfigure id=\"attachment_23648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23648\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/maxresdefault-800x450.jpg\" alt=\"Keanu Reeves, in Dogstar. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves, in Dogstar.\u003c/figcaption>\u003c/figure>\n\u003cp>Since the advent of reality television, however, celebrities who were famous for nothing more than living with a camera crew started consistently assuming that the fastest way to a more credible career was via the medium of music. In the early days, this happened repeatedly and, without fail, each and every reality star thought that their music career would be different; that they somehow would get one over on a public who, they refused to acknowledge, really, really didn’t want to hear them sing in the first place.\u003c/p>\n\u003cp>When this phenomena first started in the early 2000s, it became apparent very quickly that even when reality stars made a real effort to put out something musically solid -- or at least something that wouldn’t immediately get you scrambling to the mute button on your TV--- they were still met with indifference and not a small amount of disapproval from the peanut gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2002, emerging on the back of the enormously successful \u003ca href=\"https://en.wikipedia.org/wiki/The_Osbournes\">\u003cem>The Osbournes\u003c/em>\u003c/a>, Kelly Osbourne’s wooden performance in the video for \"\u003ca href=\"https://www.youtube.com/watch?v=WUb5JihqZZQ#t=70\">Papa Don’t Preach\u003c/a>\" might have erred on the side of cringeworthy, but the actual song was on par with -- perhaps even better than --anything Avril Lavigne was doing with more success that year. Osbourne’s follow-up singles, “\u003ca href=\"https://www.youtube.com/watch?v=j8nng0Anvig\">Shut Up\u003c/a>” and “Come Dig Me Out”, certainly out-paced and outsmarted Lavigne’s \"\u003ca href=\"https://www.youtube.com/watch?v=5NPBIwQyPWE\">Complicated\u003c/a>\" and “\u003ca href=\"https://www.youtube.com/watch?v=TIy3n2b7V9k\">Sk8tr Boi\u003c/a>”:\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/Q_qE8_BHMrI'\n title='//www.youtube.com/embed/Q_qE8_BHMrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still it came to naught.\u003c/p>\n\u003cp>A few years later, Paris Hilton -- who occasionally seemed like an actual Real Human Girl in \u003ca href=\"http://www.imdb.com/title/tt0362153/\">\u003cem>The Simple Life\u003c/em>\u003c/a> -- had a crack at music stardom with “Stars Are Blind” -- a song that was received across the board with a kind shrug, a gentle nod and a muttering of “This actually isn’t that bad.” Which, of course, is code for “I’d listen to this song if Gwen Stefani had recorded it.”\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/joWpYsKere8'\n title='//www.youtube.com/embed/joWpYsKere8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2008, Heidi Montag (poor, dear Heidi Montag) did put some effort into her \u003ca href=\"https://en.wikipedia.org/wiki/The_Hills_(TV_series)\">\u003cem>Hills\u003c/em>\u003c/a>-adjacent foray into music, copying Paris Hilton’s beachy video and being hailed (by people who were surely being paid to do so) as \"\u003ca href=\"https://www.youtube.com/watch?v=wOgA5D10Hvg\">The NEXT Britney Spears!\u003c/a>\" Sadly, Montag's attempts to not sound like a balloon deflating in slow motion failed. (Poor, dear Heidi Montag.)\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/wHZYGrC40Ko'\n title='//www.youtube.com/embed/wHZYGrC40Ko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All three stars were forced to abandon their music careers shortly after they’d begun, to the disappointment of almost nobody. But what followed was a contagious idea among other reality stars that (a) anyone could have a go, and (b) since it was clearly going to be short-lived, they could just release any old nonsense. The reality star singles that followed were both infuriating in their laziness and -- silver lining! -- a goldmine of unintentional comedy.\u003c/p>\n\u003cp>First, there was Daisy De La Hoya, one of Brett Michaels’ playthings from his (consistently gag-worthy) \u003ca href=\"https://en.wikipedia.org/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)\">\u003cem>Rock Of Love\u003c/em>\u003c/a> dating show. Ms. De La Hoya decided in 2009 that the quickest way to a rock ‘n’ roll career was singing a song titled “Suck It” featuring the immortal refrain: “Girls, they wanna be me! Boys, they wanna do me!” It was just as head-desk terrible as you might imagine, but there was, at least, also a strong possibility that every time you heard this, you laughed until the breath left your lungs.\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/8tul_1hRphI'\n title='//www.youtube.com/embed/8tul_1hRphI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not to be outdone on the trashiness scale, \u003ca href=\"https://en.wikipedia.org/wiki/Jersey_Shore_(TV_series)\">\u003cem>Jersey Shore\u003c/em>\u003c/a>’s Pauly D decided to release “Beat Dat Beat” a year later. It was a Pitbull-inspired tropical house nightmare with spoken word sections about tanning, being Italian and “only dealing with 9s and 10s in the DJ booth.” It was like Marky Mark & The Funky Bunch went on a bender, stopped being able to do backflips and just started complaining about ugly people:\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/y0Gpt12psAA'\n title='//www.youtube.com/embed/y0Gpt12psAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just when we thought things couldn’t get worse, Kim Kardashian’s “Jam” half-emerged. That’s right! This atrocity was so bad, not even the Kardashians wanted it released, even after airing \u003ca href=\"https://www.youtube.com/watch?v=d2uzScEbcws\">Kim in the recording studio\u003c/a> during an episode of \u003ca href=\"http://www.eonline.com/shows/kardashians\">\u003cem>Keeping Up With The Kardashians\u003c/em>\u003c/a>. To this day, it’s impossible to find an entirely finished video to accompany the track. Not even The Dream, a vat of body oil and Kim K’s perfect derriere crawling through a service tunnel could disguise the fact that her singing(?) voice was even more profoundly irritating than the one she speaks with. But hey, rosé up in the air, everybody! (ROSÉ!)\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/gHp7sq1Tzn0'\n title='//www.youtube.com/embed/gHp7sq1Tzn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Astonishingly, in the years that have followed, we’ve only seen the bar set increasingly lower, thanks almost entirely to the squawking banshees of \u003cem>The Real Housewives\u003c/em> franchise. Here’s New York’s Kim Zolciak with “Tardy For The Party,” closely resembling that friend of your mom’s that always drinks too much on national holidays, then passes out on the front lawn:\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/gIeb7tY3Z6s'\n title='//www.youtube.com/embed/gIeb7tY3Z6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another NYC housewife, Countess Luann, went one step further with “Money Can’t Buy You Class,” a track that features so many layers of Auto-Tune, it sounds like she recorded it with her face submerged in a mop bucket. Money can't buy you talent either, sweet cheeks!\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/kEDvlSAMhQU'\n title='//www.youtube.com/embed/kEDvlSAMhQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Even bit-players from \u003cem>The Real Housewives\u003c/em> got in on recording singles. Do you know who \u003ca href=\"https://www.youtube.com/watch?v=nbRlRUlXWz0#t=20\">Simon Van Kempen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KUcQq1sbWsM#t=63\">Miss Lawrence\u003c/a> are? We don’t either. But someone let those fools into recording booths because, apparently, being on reality television erases the ability to feel shame. Truly, it would now be an impossibility for a reality star to record anything worse than this exercise in humiliation:\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/nbRlRUlXWz0'\n title='//www.youtube.com/embed/nbRlRUlXWz0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, it’s possible for actors to cross over into legitimate and nerd-approved music careers in a way that simply wasn’t permitted a decade ago. Perhaps many actors’ efforts just don’t seem so bad now that we’re so consistently exposed to the bottom of the barrel by reality stars. That’s not to say many people are clamoring to listen to \u003ca href=\"http://www.baconbros.com/\">The Bacon Brothers\u003c/a> or \u003ca href=\"http://kevincostnermodernwest.com/\">Kevin Costner & Modern West\u003c/a>, and sweet baby Jesus, we wish we'd never found out about Jada Pinkett Smith’s metal band, \u003ca href=\"https://www.youtube.com/watch?v=f56ZtXrx_nw\">Wicked Wisdom\u003c/a>.\u003c/p>\n\u003cp>Truthfully, the established actors who have succeeded in recording music that isn’t just tolerable, but legitimately great, have done so by collaborating with respected artists and not pandering to the biggest potential audience. The two best examples are Zooey Deschanel’s collaboration with indie darling M. Ward, for \u003ca href=\"http://www.sheandhim.com/\">She & Him\u003c/a>, and Ryan Gosling’s foray into artsy horror-themed experimentation with the surprisingly excellent \u003ca href=\"https://en.wikipedia.org/wiki/Dead_Man%27s_Bones\">Dead Man’s Bones\u003c/a>.\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/tpYwHfB7eds'\n title='//www.youtube.com/embed/tpYwHfB7eds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=Ni75mYuwvlg\u003c/p>\n\u003cp>What Gosling and Deschanel have in common: You can tell that they’re recording music truthfully and with not a small amount of skill. Neither of them has made their music to get their egos stroked (see Russell Crowe’s \u003ca href=\"https://www.youtube.com/watch?v=lNfomuY2ysg\">30 Odd Foot of Grunts\u003c/a>) or to live out some rock star fantasy (see Jared Leto's \u003ca href=\"https://www.youtube.com/watch?v=Zcps2fJKuAI\">30 Seconds to Mars\u003c/a>) -- they’ve done it because they were compelled to.\u003c/p>\n\u003cp>Last week, reality TV's favorite tattoo artist Kat Von D emerged as a guest vocalist on a single by \u003ca href=\"https://en.wikipedia.org/wiki/Prayers_(rock_duo)\">Prayers\u003c/a>, an underground electro-goth outfit that is garnering a fair amount of underground buzz right now.\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/EnA_ADv9J_8'\n title='//www.youtube.com/embed/EnA_ADv9J_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"\u003ca href=\"https://www.youtube.com/watch?v=EnA_ADv9J_8\">Black Leather\u003c/a>\" is Von D’s first foray into music since promising the world an album in 2014, then never actually coming through with one. If she can forge a path into music following her passions rather than her bank balance, she might actually be the first reality star to pull off a real career in music. Also in her favor is the fact that she’s no longer on our televisions every day -- \u003ca href=\"http://www.tlc.com/tv-shows/la-ink/\">\u003cem>LA Ink\u003c/em>\u003c/a> ended all the way back in 2011, and that fact alone gives Von D a shot.\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/GV-v2FDhHbI'\n title='//www.youtube.com/embed/GV-v2FDhHbI'\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>Kat Von D is certainly, currently, the reality star most likely to succeed when it comes to branching out into music (she has a multitude of musician friends in respected places and can play actual instruments). But if she can’t do it? Well, I'm not holding my breath -- but it'd be nice to see this trend come to an end, once and for all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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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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"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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},
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},
"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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},
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"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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"source": "kqed",
"order": 9
},
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"meta": {
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},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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},
"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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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. ",
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},
"jerrybrown": {
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"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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},
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},
"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": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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