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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Friday, coordinated terrorist attacks struck the French capital, killing more than 120 people.\u003c/p>\n\u003cp>Deadly attacks hit multiple sites simultaneously. There were explosions outside a massive stadium. Scores of people were held hostage inside a concert venue. Diners at several cafes and restaurants faced volleys of gunfire.\u003c/p>\n\u003cp>The incident has prompted anger, grief and \u003ca href=\"http://www.npr.org/2015/11/14/456045436/photos-the-world-responds-to-the-paris-attacks\">an outpouring of sympathy from around the world\u003c/a>.\u003c/p>\n\u003cp>On social media, \u003ca href=\"http://recode.net/2015/11/13/facebook-activates-safety-check-in-feature-amid-paris-terror-attacks/\">Facebook's check-in feature\u003c/a> let people in Paris signal to their friends and family that they were safe. On Twitter, the hashtag \u003ca href=\"https://twitter.com/search?q=%23PorteOuverte&src=typd\">#PortOueverte \u003c/a>connected people stranded in Paris with nearby residents offering to host them.\u003c/p>\n\u003cp>And a day after the attacks, a few expressions of resilience and hope — in song and in art — have been shared tens of thousands of times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spectators at the Stade de France, who heard loud explosions during a friendly soccer match between France and Germany, sang the French national anthem as they finally left the stadium:\u003c/p>\n\u003cp>A day later, a man towed a piano behind his bike to the front of the Bataclan, the concert hall where more than 80 people were killed. There, he sat down to play John Lennon's \"Imagine.\"\u003c/p>\n\u003cp>Charlie Hebdo cartoonist Joann Sfar drew \u003ca href=\"http://i100.independent.co.uk/article/what-a-charlie-hebdo-cartoonist-drew-after-the-second-paris-terror-attack-in-a-year--Z1ZZbO3VYx\">a series of cartoons\u003c/a> praising Paris' love of live and the city's resilience in the face of \"lovers of death.\" He also wrote a cartoon in English responding to the #PrayforParis hashtag and suggesting an alternative, #Parisisaboutlife:\u003c/p>\n\u003cp>And a quick sketch by artist Jean Jullien quickly gained traction as a hopeful symbol after a night of horror. It sparked a hashtag of its own: #PeaceForParis.\u003c/p>\n\u003cp>Jullien \u003ca href=\"http://www.npr.org/2015/11/14/456022682/circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity\">spoke with NPR's Michel Martin\u003c/a> about the inspiration behind the simple sketch.\u003c/p>\n\u003cp>He tells her he's a little uncomfortable with the attention his drawing has received on social media, since he doesn't want to gain any personal benefit from the tragedy. Still, he's pleased it's hitting home, he says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. ... If it was useful for people to share and communicate their loss and need for peace, then that's what it was meant to be.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+Social+Media%2C+Messages+Of+Resilience+And+Hope+Flourish&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cp>Kelley Stoltz has been a mainstay in the Bay Area indie music scene for years, not only as a highly valued producer and cheerleader, but as an artist in his own right. He started releasing his own music before Y2K, and since then he’s worked with seemingly hundreds of artists, from garage-rockers Thee Oh Sees to singer-songwriter Sarah Bethe Nelson. And he has just released three separate records: Two full albums, “In Triangle Time” and “The Scuzzy Inputs of Willie Weird,” and one four-cut EP. I’d say that they show three different sides to Stoltz. But the fact is that between them, they show about a dozen.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/232988041\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Can we piece them together into one nice whole? Well, one person’s multifaceted is another’s ill-defined.\u003c/p>\n\u003cp>Of the three releases, “In Triangle Time” is the “real” album, and the best bet for getting to know his many talents and many directions. “Cut Me Baby,” the opening track, puts an oddball mystique into a nicely honed pop context -- a little Brian Eno, a little Lee Hazelwood, a little, oh, Nick Lowe. Throughout the album, as those who have followed Stoltz would expect, he’s not shy about showing his affection for Brian Wilson’s layering and Syd Barrett’s psychedelia, the latter prominently on the centerpiece, “Pyramid of Time” (as well as on the EP’s “Perception”). And yet, the quasi electropulse of “The Hill” may well be the “Triangle” album’s unexpected, magnetic peak.\u003c/p>\n\u003cp>Now, as for his other full-length release, “The Scuzzy Inputs of Willie Weird,” well, the title says it all. Among the whimsical songs: “Hot Igloo,” “Goodbye Porcupine Hat” and “Seagulls Sing Hari Hara.” Two “Weird” songs, though, seem like statements of philosophy: one is the closing “I Don’t Care What the World Does,” which sounds like he doesn’t. The other is “He Who Laughs Last,” a cheery, goofy calling card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout he puts on different, often comedic voices, including a gruff, curmudgeonly growl on the highlight, “Garbage,” in which he (or whatever character he may be playing) dismisses just about everything in the universe as, uh, garbage.\u003c/p>\n\u003cp>Maybe Stoltz doesn’t want us to know him, to pin him down. Maybe he’s almost daring us to keep up with him. But maybe here and there he’s left some clues as to who the “real” Kelley Stoltz is.\u003c/p>\n\u003cp>At the very end of “In Triangle Time,” after all his stylistic mashups and experiments, he lets his guard down. “Destroyer & Drones” is a bare-bones, late-night meditation on, well, various things, but they all fall away to the unabashed, uncomplicated declaration, “Hallelujah, I love you so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just another facet to add to Stoltz’s already complex catalog? No, this sounds like an artist coming into clear focus.\u003c/p>\n\n",
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"disqusTitle": "East L.A. Instagram Account Looks Beyond Gangbanger Stereotype",
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"content": "\u003cp>Guadalupe Rosales says some of the best times of her life were in the early '90s, when she was a teenager growing up in East L.A. “Spending time with party crews and also relatives who were in gangs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10757643\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady.jpg\">\u003cimg class=\"size-medium wp-image-10757643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-800x576.jpg\" alt=\"Ballpoint pen art uploaded by a follower of the Veteranas & Rucas Instagram feed. \" width=\"800\" height=\"576\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-800x576.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-1440x1037.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-1180x850.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-960x692.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballpoint pen art uploaded by a follower of the Veteranas & Rucas Instagram feed. \u003ccite>(Courtesy of Guadalupe Rosales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the 35-year-old Rosales is no gangbanger herself, and she says times like that are often underrepresented in pop culture depictions of urban Latino culture. So she's taken to Instagram to correct that, inviting people to upload day-to-day images, video and other ephemera from the 1980s and '90s, the era she came of age.\u003c/p>\n\u003cp>“It’s not what people think it is,” says Rosales. “It’s not just people kill and people get pregnant at age 12.\"\u003c/p>\n\u003cp>Rosales says she wants to reframe Latino and Chicano heritage and history.\u003c/p>\n\u003cp>“I haven’t seen that out in social media, and I wanted acknowledgement that this is part of history,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/232988592\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Her Instagram feed is called \u003ca href=\"https://instagram.com/veteranas_and_rucas/\" target=\"_blank\">Veteranas & Rucas\u003c/a>.\u003c/p>\n\u003cp>“Veteranas for me, it's someone who has put in time or work in the gang culture,” Rosales says. “And ‘rucas’ is like more of slang term that especially males used to call their girlfriends.”\u003c/p>\n\u003cp>The visual artist is based in Brooklyn yet is still connected to East L.A., She views her Instagram account as part contemporary history archive and part pop art exhibit. The account has also become a way for lost friends and acquaintances to reconnect.\u003c/p>\n\u003cp>“I put up the images and let people have a dialogue with each other, whether they know each other or they are strangers,” says Rosales.\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"10757651,10757647,10757641,10757640,10757639\"]\u003c/p>\n\u003cp>Rosales curates the content with an emphasis on the young Latino women who powered a subculture that blended Chicano pride, gangbanger swagger and the imagery and fashion culled from the glossy pages of Low Rider and Street Beat magazines.\u003c/p>\n\u003cp>“The emphasis on my Instagram should be on women,” says Rosales. “Women who share similar experiences and histories as men but get erased or unacknowledged.”\u003c/p>\n\u003cp>On Veteranas and Rucas, the men recede into the background. The young girls in loose-fitting Ben Davis jeans or khakis, starched white T-shirts, Pendletons and black Mary Jane slip-ons come to the fore.\u003c/p>\n\u003cp>Rosales acknowledges that Veteranas & Rucas may give the impression that she’s trying to sugarcoat or over-romanticize an era that did indeed experience its share of gang violence, broken families and other social ills.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to talk about everything you know, the good, the bad and the ugly,” says Rosales. “It does open up old wounds, it does bring nostalgia. It’s everything, and that is what I’m interested in putting out.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guadalupe Rosales says some of the best times of her life were in the early '90s, when she was a teenager growing up in East L.A. “Spending time with party crews and also relatives who were in gangs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10757643\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady.jpg\">\u003cimg class=\"size-medium wp-image-10757643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-800x576.jpg\" alt=\"Ballpoint pen art uploaded by a follower of the Veteranas & Rucas Instagram feed. \" width=\"800\" height=\"576\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-800x576.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-1440x1037.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-1180x850.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/VETERANAS-ballpoint-LA-lady-960x692.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballpoint pen art uploaded by a follower of the Veteranas & Rucas Instagram feed. \u003ccite>(Courtesy of Guadalupe Rosales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the 35-year-old Rosales is no gangbanger herself, and she says times like that are often underrepresented in pop culture depictions of urban Latino culture. So she's taken to Instagram to correct that, inviting people to upload day-to-day images, video and other ephemera from the 1980s and '90s, the era she came of age.\u003c/p>\n\u003cp>“It’s not what people think it is,” says Rosales. “It’s not just people kill and people get pregnant at age 12.\"\u003c/p>\n\u003cp>Rosales says she wants to reframe Latino and Chicano heritage and history.\u003c/p>\n\u003cp>“I haven’t seen that out in social media, and I wanted acknowledgement that this is part of history,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/232988592&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/232988592'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Her Instagram feed is called \u003ca href=\"https://instagram.com/veteranas_and_rucas/\" target=\"_blank\">Veteranas & Rucas\u003c/a>.\u003c/p>\n\u003cp>“Veteranas for me, it's someone who has put in time or work in the gang culture,” Rosales says. “And ‘rucas’ is like more of slang term that especially males used to call their girlfriends.”\u003c/p>\n\u003cp>The visual artist is based in Brooklyn yet is still connected to East L.A., She views her Instagram account as part contemporary history archive and part pop art exhibit. The account has also become a way for lost friends and acquaintances to reconnect.\u003c/p>\n\u003cp>“I put up the images and let people have a dialogue with each other, whether they know each other or they are strangers,” says Rosales.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rosales curates the content with an emphasis on the young Latino women who powered a subculture that blended Chicano pride, gangbanger swagger and the imagery and fashion culled from the glossy pages of Low Rider and Street Beat magazines.\u003c/p>\n\u003cp>“The emphasis on my Instagram should be on women,” says Rosales. “Women who share similar experiences and histories as men but get erased or unacknowledged.”\u003c/p>\n\u003cp>On Veteranas and Rucas, the men recede into the background. The young girls in loose-fitting Ben Davis jeans or khakis, starched white T-shirts, Pendletons and black Mary Jane slip-ons come to the fore.\u003c/p>\n\u003cp>Rosales acknowledges that Veteranas & Rucas may give the impression that she’s trying to sugarcoat or over-romanticize an era that did indeed experience its share of gang violence, broken families and other social ills.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to talk about everything you know, the good, the bad and the ugly,” says Rosales. “It does open up old wounds, it does bring nostalgia. It’s everything, and that is what I’m interested in putting out.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paris Terror: Eagles of Death Metal Concert Scene of Horrific Attack [UPDATE]",
"headTitle": "Paris Terror: Eagles of Death Metal Concert Scene of Horrific Attack [UPDATE] | KQED",
"content": "\u003cp>\u003cb>Update:\u003c/b> 11/14/15, 1:40 p.m.\u003c/p>\n\u003cp>A series of bloody attacks across Paris Friday resulted in as many as 120 people killed and a hostage situation at a music venue where the SoCal band Eagles of Death Metal were playing a sold out show that night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">The six coordinated attacks\u003c/a> occurred early in the evening. One of the shootings, which resulted in a takeover situation with scores of hostages, occurred at the Le Bataclan theater, where the Eagles of Death Metal were playing a show (pictured in the featured image above). \u003c/p>\n\u003cp>Terrrorists reportedly stormed into the show while the band was playing and opened fire on the sold-out crowd, which was \u003ca href=\"http://www.theguardian.com/world/live/2015/nov/13/shootings-reported-in-eastern-paris-live\" target=\"_blank\" rel=\"noopener\">estimated to be around 1,500\u003c/a>. \u003c/p>\n\u003cp>One reported attendee named Benjamin Cazenoves said that after the attack there were dead bodies everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.facebook.com/benjamin.cazenoves/posts/10153035449936652?pnref=story\u003c/p>\n\u003cp>Hours later, French police stormed the venue and killed three armed attackers. In the aftermath, about 90 people were found dead in the venue, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">according to updated reports from NPR\u003c/a>. \u003c/p>\n\u003cp>Publications such as \u003ca href=\"http://pitchfork.com/news/62102-hostages-taken-at-paris-nightclub-where-eagles-of-death-metal-performed/\" target=\"_blank\" rel=\"noopener\">Pitchfork\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/blogs/worldviews-live/liveblog/live-updates-attacks-in-paris/#17a418ff-33f0-4574-9bb4-d636469d68e1\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a> — who spoke to the wife of the band’s drummer — reported that the band made it out safely after the attacks began. But a recent post on the band’s official Facebook page noted that members of its crew are still missing: \u003c/p>\n\u003cp>https://www.facebook.com/eaglesofdeathmetal/posts/10153616153681014\u003c/p>\n\u003cp>On Saturday, it was discovered that one of the victims of the Le Bataclan massacre was Nick Alexander, who was working the Eagles of Death Metal’s merchandise table during the show, \u003ca href=\"http://www.rollingstone.com/music/news/eagles-of-death-metal-merch-manager-nick-alexander-killed-in-paris-attack-20151114\" target=\"_blank\" rel=\"noopener\">according to Rolling Stone\u003c/a>. Alexander also worked for bands such as the Black Keys \u003c/p>\n\u003cp>Despite their name, \u003ca href=\"https://en.wikipedia.org/wiki/Eagles_of_Death_Metal\" target=\"_blank\" rel=\"noopener\">The Eagles of Death Metal\u003c/a> are not a death metal band, as many news outlets have reported. They are more of a traditional rock and roll band that have been playing since 1998. They recently released their fourth album, \u003ci>Zipper Down.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.deftones.com/\" target=\"_blank\" rel=\"noopener\">Sacramento’s Deftones\u003c/a> were scheduled to play Le Bataclan the following three nights. \u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491 \u003c/p>\n\u003cp>It is unclear whether Deftones will still be playing though all three nights had sold out.\u003c/p>\n\u003cp>Also in France is Oakland’s Shannon and the Clams, who were in Lille, France during the attacks and were planning on heading to Paris the next day. \u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206497998467178\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>Shannon Shaw from Shannon and the Clams has announced that the band’s Paris show, scheduled for Saturday night, has been canceled:\u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206500045798360?\u003c/p>\n\u003cp>And there has been no update on the Deftones, but it’s best to assume that they’ve been canceled, as bodies were still being removed from Le Bataclan Saturday afternoon. \u003c/p>\n\u003cp>Deftones updated on their Facebook page that they are all safe:\u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will update this story when new details are learned. Also follow \u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">coverage of the attacks on KQED News.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update:\u003c/b> 11/14/15, 1:40 p.m.\u003c/p>\n\u003cp>A series of bloody attacks across Paris Friday resulted in as many as 120 people killed and a hostage situation at a music venue where the SoCal band Eagles of Death Metal were playing a sold out show that night.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">The six coordinated attacks\u003c/a> occurred early in the evening. One of the shootings, which resulted in a takeover situation with scores of hostages, occurred at the Le Bataclan theater, where the Eagles of Death Metal were playing a show (pictured in the featured image above). \u003c/p>\n\u003cp>Terrrorists reportedly stormed into the show while the band was playing and opened fire on the sold-out crowd, which was \u003ca href=\"http://www.theguardian.com/world/live/2015/nov/13/shootings-reported-in-eastern-paris-live\" target=\"_blank\" rel=\"noopener\">estimated to be around 1,500\u003c/a>. \u003c/p>\n\u003cp>One reported attendee named Benjamin Cazenoves said that after the attack there were dead bodies everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/benjamin.cazenoves/posts/10153035449936652?pnref=story\u003c/p>\n\u003cp>Hours later, French police stormed the venue and killed three armed attackers. In the aftermath, about 90 people were found dead in the venue, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">according to updated reports from NPR\u003c/a>. \u003c/p>\n\u003cp>Publications such as \u003ca href=\"http://pitchfork.com/news/62102-hostages-taken-at-paris-nightclub-where-eagles-of-death-metal-performed/\" target=\"_blank\" rel=\"noopener\">Pitchfork\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/blogs/worldviews-live/liveblog/live-updates-attacks-in-paris/#17a418ff-33f0-4574-9bb4-d636469d68e1\" target=\"_blank\" rel=\"noopener\">the Washington Post\u003c/a> — who spoke to the wife of the band’s drummer — reported that the band made it out safely after the attacks began. But a recent post on the band’s official Facebook page noted that members of its crew are still missing: \u003c/p>\n\u003cp>https://www.facebook.com/eaglesofdeathmetal/posts/10153616153681014\u003c/p>\n\u003cp>On Saturday, it was discovered that one of the victims of the Le Bataclan massacre was Nick Alexander, who was working the Eagles of Death Metal’s merchandise table during the show, \u003ca href=\"http://www.rollingstone.com/music/news/eagles-of-death-metal-merch-manager-nick-alexander-killed-in-paris-attack-20151114\" target=\"_blank\" rel=\"noopener\">according to Rolling Stone\u003c/a>. Alexander also worked for bands such as the Black Keys \u003c/p>\n\u003cp>Despite their name, \u003ca href=\"https://en.wikipedia.org/wiki/Eagles_of_Death_Metal\" target=\"_blank\" rel=\"noopener\">The Eagles of Death Metal\u003c/a> are not a death metal band, as many news outlets have reported. They are more of a traditional rock and roll band that have been playing since 1998. They recently released their fourth album, \u003ci>Zipper Down.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.deftones.com/\" target=\"_blank\" rel=\"noopener\">Sacramento’s Deftones\u003c/a> were scheduled to play Le Bataclan the following three nights. \u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491 \u003c/p>\n\u003cp>It is unclear whether Deftones will still be playing though all three nights had sold out.\u003c/p>\n\u003cp>Also in France is Oakland’s Shannon and the Clams, who were in Lille, France during the attacks and were planning on heading to Paris the next day. \u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206497998467178\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>Shannon Shaw from Shannon and the Clams has announced that the band’s Paris show, scheduled for Saturday night, has been canceled:\u003c/p>\n\u003cp>https://www.facebook.com/shannon.shaw.372/posts/10206500045798360?\u003c/p>\n\u003cp>And there has been no update on the Deftones, but it’s best to assume that they’ve been canceled, as bodies were still being removed from Le Bataclan Saturday afternoon. \u003c/p>\n\u003cp>Deftones updated on their Facebook page that they are all safe:\u003c/p>\n\u003cp>https://www.facebook.com/deftones/posts/10153802957512491\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We will update this story when new details are learned. Also follow \u003ca href=\"http://ww2.kqed.org/news/2015/11/13/dozens-killed-in-series-of-paris-attacks\" target=\"_blank\" rel=\"noopener\">coverage of the attacks on KQED News.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I watched as one of my new media professors at UC Berkeley’s Graduate School of Journalism held up his phone and spun around in a circle to take in the full scenery. He was watching the 360-degree video experience of \u003cem>The New York Times\u003c/em>’ Nov. 5 story about children forced from their homes by war, “\u003ca href=\"http://www.nytimes.com/2015/11/08/magazine/the-displaced-introduction.html\" target=\"_blank\" rel=\"noopener\">The Displaced\u003c/a>.”\u003c/p>\n\u003cp>I peered at the video over my professor’s shoulder. He stopped for a moment, realizing he could use his finger to navigate through the experience. Oh, the excitement of new technology!\u003c/p>\n\u003cp>In the video, a food drop came and we were both wowed. The sounds of the planes prompt the viewer to look up, an experience neither of us have access to in real life. You can see the bags of food falling from the sky, and watch them land on the ground. It felt as though we witnessed the scene, with people running around us.\u003c/p>\n\u003cp>We continued watching for a few more minutes. Beautifully shot. Nice transitions. “What do you think?” I said.\u003c/p>\n\u003cfigure id=\"attachment_11077119\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077119\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Nonny-e1447444627311.png\" alt=\"Nonny de la Peña pioneered experimental immersive journalism.\" width=\"640\" height=\"566\">\u003cfigcaption class=\"wp-caption-text\">Nonny de la Peña pioneered experimental immersive journalism. \u003ccite>(Photo: Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Beginning of Immersive Journalism\u003c/h3>\n\u003cp>When did this whole virtual reality (VR) train start chugging? In the early ’90s, video games tried to use it, but the interest in immersive journalism started when Nonny de la Peña and then-intern Palmer Luckey (who later founded Oculus Rift) debuted \u003cem>\u003ca href=\"http://www.immersivejournalism.com/hunger-in-los-angeles-machinima-video/\" target=\"_blank\" rel=\"noopener\">Hunger in Los Angeles\u003c/a>\u003c/em> at the 2012 Sundance Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast-forward to today: Gannett published \u003ca href=\"http://storynext.gannett.com/state-of-vr.pdf\" target=\"_blank\" rel=\"noopener\">The State of Virtual Reality in Journalism\u003c/a> in October, detailing how media companies from the BBC to \u003cem>The Washington Post\u003c/em> are exploring uses of VR. Virtual reality-specific outlets such as \u003ca href=\"http://www.ryot.org/\" target=\"_blank\" rel=\"noopener\">RYOT\u003c/a>, \u003ca href=\"http://vrse.com/\" target=\"_blank\" rel=\"noopener\">Vrse\u003c/a> and \u003ca href=\"http://www.emblematicgroup.com/\" target=\"_blank\" rel=\"noopener\">Emblematic Group\u003c/a> are creating their own stories or partnering with others for interactive experiences.\u003c/p>\n\u003ch3>The New York Times: Exploring the Medium\u003c/h3>\n\u003cp>Three years after Nonny de la Peña debuted her work at Sundance, and a year after Facebook invested in \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a>, \u003cem>The New York Times\u003c/em> jumped into the mix. On Nov. 8, subscribers received a \u003ca href=\"https://www.google.com/get/cardboard/\" target=\"_blank\" rel=\"noopener\">Google Cardboard\u003c/a> along with their Sunday magazine.\u003c/p>\n\u003cp>“It’s kind of ironic when you think about it,” one of my professors mentioned offhand when I asked him about his opinion. He elaborated: Based on age demographics, people who receive a paper copy of the \u003cem>New York Times Magazine\u003c/em> are perhaps the least likely people to use Google Cardboard.\u003c/p>\n\u003cp>I wanted to be more impressed. After seeing speakers on VR at the Online News Association conference in September and attending an immersive journalism-focused hackathon for women at the USC Annenberg School for Communication and Journalism in October, I’ve followed VR train closely. I half-expected the train to turn into a rocket with the backing of \u003cem>The New York Times\u003c/em>. But we are not yet all moving to Mars, though you can \u003cem>experience\u003c/em> Mars as brought to you by \u003ca href=\"http://graphics.latimes.com/mars-gale-crater-vr/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Los Angeles Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11077120\" class=\"wp-caption alignright\" style=\"max-width: 586px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/NYT-cardboard.png\" alt=\"The New York Times' Sunday edition.\" width=\"586\" height=\"330\" class=\"size-full wp-image-11077120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NYT-cardboard.png 586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NYT-cardboard-400x225.png 400w\" sizes=\"(max-width: 586px) 100vw, 586px\">\u003cfigcaption class=\"wp-caption-text\">The New York Times’ Sunday edition. \u003ccite>(@vrseworks on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps most importantly, \u003cem>The New York Times\u003c/em> made an effort. As one of my professors, Richard Koci Hernandez says, “The thing they did well was that they did it.” Barely a week after it premiered on the \u003ca href=\"http://www.nytimes.com/newsgraphics/2015/nytvr/\" target=\"_blank\" rel=\"noopener\">NYT VR\u003c/a> app, Hernandez has watched “The Displaced” three times. “You can’t be afraid of new technology,” he says.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> did a beautiful job with their overall package (the written words in addition to the immersive experience). “The Displaced” is a powerful exploration of the refugee experience. But the 360-degree video, by itself, doesn’t feel like a story.\u003c/p>\n\u003cp>Reading the subtitles, I had to squint to see what was being said. I wondered if the VR team considered a voiceover for a smoother user experience. And yet, the images take us to places we might never encounter on our own.\u003c/p>\n\u003cp>Where could they have improved? “The scenes of each child never gave me a reason to look around,” Hernandez says. They didn’t take full advantage of the format. “When I did look around, there wasn’t anything going on,” he added.\u003c/p>\n\u003cp>The viewer is lead to believe that since the project is coming from \u003cem>The New York Times\u003c/em>, “The Displaced” is an objective (as objective can be) and true journalistic experience. Yet what role did camera placement and directed movement play in the video?\u003c/p>\n\u003cp>I spoke with Dan Archer, founder of \u003ca href=\"http://www.empatheticmedia.com/\" target=\"_blank\" rel=\"noopener\">Empathetic Media\u003c/a>, a technology agency that focuses more on the virtual side of immersive journalism, including recreating events like \u003ca href=\"http://fusion.net/story/31200/ferguson-vr/\" target=\"_blank\" rel=\"noopener\">Michael Brown’s death in Ferguson\u003c/a>. He says of “The Displaced”: “To get those shots, I would assume you have to ask those children to act in a scripted way ahead of time… and plan the shot accordingly.” For him, the project is closer to theater than journalism.\u003c/p>\n\u003cfigure id=\"attachment_11077122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Testing-Oculus-e1447444574835.jpg\" alt=\"Experimenting with various virtual reality headsets and experiences at "Hack the Gender Gap: Women's Hackathon" event at USC Annenberg.\" width=\"640\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Experimenting with various virtual reality headsets and experiences at “Hack the Gender Gap: Women’s Hackathon” event at USC Annenberg. \u003ccite>(Photo: Jacqui Ipp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What’s Next?\u003c/h3>\n\u003cp>I’ve met with a number of people working in the emerging field of immersive journalism to figure out what makes most sense in this new form, as well as how to actually do it. If all goes as planned, I’ll be working on a team from UC Berkeley’s School of Journalism to do our own 360-degree video project. Perhaps the most exciting thing about immersive journalism is its accessibility. It’s not just for large media companies who can afford the technology.\u003c/p>\n\u003cp>Amidst my excitement, Hernandez posits we may be at “the peak of inflated expectations.” Overall, he believes the technology is here to stay, in part as a result of the money being invested into it, and the fact that folks like Mark Zuckerberg have made a commitment to the form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hernandez, like others, predicts an evolution of the clunky headset to something more like the sunglasses look of \u003ca href=\"http://www.microsoft.com/microsoft-hololens/en-us\" target=\"_blank\" rel=\"noopener\">Microsoft HoloLens\u003c/a>, a more normal, fashionable experience. “It’s definitely here to stay,” he says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I watched as one of my new media professors at UC Berkeley’s Graduate School of Journalism held up his phone and spun around in a circle to take in the full scenery. He was watching the 360-degree video experience of \u003cem>The New York Times\u003c/em>’ Nov. 5 story about children forced from their homes by war, “\u003ca href=\"http://www.nytimes.com/2015/11/08/magazine/the-displaced-introduction.html\" target=\"_blank\" rel=\"noopener\">The Displaced\u003c/a>.”\u003c/p>\n\u003cp>I peered at the video over my professor’s shoulder. He stopped for a moment, realizing he could use his finger to navigate through the experience. Oh, the excitement of new technology!\u003c/p>\n\u003cp>In the video, a food drop came and we were both wowed. The sounds of the planes prompt the viewer to look up, an experience neither of us have access to in real life. You can see the bags of food falling from the sky, and watch them land on the ground. It felt as though we witnessed the scene, with people running around us.\u003c/p>\n\u003cp>We continued watching for a few more minutes. Beautifully shot. Nice transitions. “What do you think?” I said.\u003c/p>\n\u003cfigure id=\"attachment_11077119\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077119\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Nonny-e1447444627311.png\" alt=\"Nonny de la Peña pioneered experimental immersive journalism.\" width=\"640\" height=\"566\">\u003cfigcaption class=\"wp-caption-text\">Nonny de la Peña pioneered experimental immersive journalism. \u003ccite>(Photo: Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Beginning of Immersive Journalism\u003c/h3>\n\u003cp>When did this whole virtual reality (VR) train start chugging? In the early ’90s, video games tried to use it, but the interest in immersive journalism started when Nonny de la Peña and then-intern Palmer Luckey (who later founded Oculus Rift) debuted \u003cem>\u003ca href=\"http://www.immersivejournalism.com/hunger-in-los-angeles-machinima-video/\" target=\"_blank\" rel=\"noopener\">Hunger in Los Angeles\u003c/a>\u003c/em> at the 2012 Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast-forward to today: Gannett published \u003ca href=\"http://storynext.gannett.com/state-of-vr.pdf\" target=\"_blank\" rel=\"noopener\">The State of Virtual Reality in Journalism\u003c/a> in October, detailing how media companies from the BBC to \u003cem>The Washington Post\u003c/em> are exploring uses of VR. Virtual reality-specific outlets such as \u003ca href=\"http://www.ryot.org/\" target=\"_blank\" rel=\"noopener\">RYOT\u003c/a>, \u003ca href=\"http://vrse.com/\" target=\"_blank\" rel=\"noopener\">Vrse\u003c/a> and \u003ca href=\"http://www.emblematicgroup.com/\" target=\"_blank\" rel=\"noopener\">Emblematic Group\u003c/a> are creating their own stories or partnering with others for interactive experiences.\u003c/p>\n\u003ch3>The New York Times: Exploring the Medium\u003c/h3>\n\u003cp>Three years after Nonny de la Peña debuted her work at Sundance, and a year after Facebook invested in \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a>, \u003cem>The New York Times\u003c/em> jumped into the mix. On Nov. 8, subscribers received a \u003ca href=\"https://www.google.com/get/cardboard/\" target=\"_blank\" rel=\"noopener\">Google Cardboard\u003c/a> along with their Sunday magazine.\u003c/p>\n\u003cp>“It’s kind of ironic when you think about it,” one of my professors mentioned offhand when I asked him about his opinion. He elaborated: Based on age demographics, people who receive a paper copy of the \u003cem>New York Times Magazine\u003c/em> are perhaps the least likely people to use Google Cardboard.\u003c/p>\n\u003cp>I wanted to be more impressed. After seeing speakers on VR at the Online News Association conference in September and attending an immersive journalism-focused hackathon for women at the USC Annenberg School for Communication and Journalism in October, I’ve followed VR train closely. I half-expected the train to turn into a rocket with the backing of \u003cem>The New York Times\u003c/em>. But we are not yet all moving to Mars, though you can \u003cem>experience\u003c/em> Mars as brought to you by \u003ca href=\"http://graphics.latimes.com/mars-gale-crater-vr/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Los Angeles Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11077120\" class=\"wp-caption alignright\" style=\"max-width: 586px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/NYT-cardboard.png\" alt=\"The New York Times' Sunday edition.\" width=\"586\" height=\"330\" class=\"size-full wp-image-11077120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NYT-cardboard.png 586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/NYT-cardboard-400x225.png 400w\" sizes=\"(max-width: 586px) 100vw, 586px\">\u003cfigcaption class=\"wp-caption-text\">The New York Times’ Sunday edition. \u003ccite>(@vrseworks on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps most importantly, \u003cem>The New York Times\u003c/em> made an effort. As one of my professors, Richard Koci Hernandez says, “The thing they did well was that they did it.” Barely a week after it premiered on the \u003ca href=\"http://www.nytimes.com/newsgraphics/2015/nytvr/\" target=\"_blank\" rel=\"noopener\">NYT VR\u003c/a> app, Hernandez has watched “The Displaced” three times. “You can’t be afraid of new technology,” he says.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> did a beautiful job with their overall package (the written words in addition to the immersive experience). “The Displaced” is a powerful exploration of the refugee experience. But the 360-degree video, by itself, doesn’t feel like a story.\u003c/p>\n\u003cp>Reading the subtitles, I had to squint to see what was being said. I wondered if the VR team considered a voiceover for a smoother user experience. And yet, the images take us to places we might never encounter on our own.\u003c/p>\n\u003cp>Where could they have improved? “The scenes of each child never gave me a reason to look around,” Hernandez says. They didn’t take full advantage of the format. “When I did look around, there wasn’t anything going on,” he added.\u003c/p>\n\u003cp>The viewer is lead to believe that since the project is coming from \u003cem>The New York Times\u003c/em>, “The Displaced” is an objective (as objective can be) and true journalistic experience. Yet what role did camera placement and directed movement play in the video?\u003c/p>\n\u003cp>I spoke with Dan Archer, founder of \u003ca href=\"http://www.empatheticmedia.com/\" target=\"_blank\" rel=\"noopener\">Empathetic Media\u003c/a>, a technology agency that focuses more on the virtual side of immersive journalism, including recreating events like \u003ca href=\"http://fusion.net/story/31200/ferguson-vr/\" target=\"_blank\" rel=\"noopener\">Michael Brown’s death in Ferguson\u003c/a>. He says of “The Displaced”: “To get those shots, I would assume you have to ask those children to act in a scripted way ahead of time… and plan the shot accordingly.” For him, the project is closer to theater than journalism.\u003c/p>\n\u003cfigure id=\"attachment_11077122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11077122\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Testing-Oculus-e1447444574835.jpg\" alt=\"Experimenting with various virtual reality headsets and experiences at "Hack the Gender Gap: Women's Hackathon" event at USC Annenberg.\" width=\"640\" height=\"640\">\u003cfigcaption class=\"wp-caption-text\">Experimenting with various virtual reality headsets and experiences at “Hack the Gender Gap: Women’s Hackathon” event at USC Annenberg. \u003ccite>(Photo: Jacqui Ipp)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What’s Next?\u003c/h3>\n\u003cp>I’ve met with a number of people working in the emerging field of immersive journalism to figure out what makes most sense in this new form, as well as how to actually do it. If all goes as planned, I’ll be working on a team from UC Berkeley’s School of Journalism to do our own 360-degree video project. Perhaps the most exciting thing about immersive journalism is its accessibility. It’s not just for large media companies who can afford the technology.\u003c/p>\n\u003cp>Amidst my excitement, Hernandez posits we may be at “the peak of inflated expectations.” Overall, he believes the technology is here to stay, in part as a result of the money being invested into it, and the fact that folks like Mark Zuckerberg have made a commitment to the form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hernandez, like others, predicts an evolution of the clunky headset to something more like the sunglasses look of \u003ca href=\"http://www.microsoft.com/microsoft-hololens/en-us\" target=\"_blank\" rel=\"noopener\">Microsoft HoloLens\u003c/a>, a more normal, fashionable experience. “It’s definitely here to stay,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It's one of the great paradoxes of the Internet Age: Social media has allowed for an unprecedented level of intimacy between friends separated by thousands of miles, between celebrities and their fans, between \u003ca href=\"https://twitter.com/brandssayingbae\" target=\"_blank\">brands and their millennial consumers\u003c/a>. It's also total bullsh*t. No one's Facebook, Twitter or Instagram account is an even remotely accurate representation of their lives, because the overall point of social media is to craft likability; you post things you've determined other people might want to see. (Whether or not you are old enough to instinctively understand this surely influenced your level of surprise around \u003ca href=\"http://www.nytimes.com/2015/11/04/fashion/essena-oneill-instagram-star-recaptions-her-life.html\">this recent, viral \"story\"\u003c/a> about a teenage Instagram model telling it like it is.)\u003c/p>\n\u003cp>There's a veritable traffic jam of interesting case studies at this intersection of intimacy and bullsh*t. But today I'd like to pay homage to one in particular: The undercelebrated world of government social media accounts.\u003c/p>\n\u003cp>No, I'm not talking about \u003ca href=\"http://www.forbes.com/sites/emilycanal/2015/11/10/why-president-obama-joined-facebook-now/\" target=\"_blank\">President Obama getting a personal Facebook account\u003c/a>. Of course Obama got Facebook. No one cares. I'm talking here about what the conversation must have sounded like in the office the day the USDA Food Safety program decided it needed a social media presence through which to share tips for proper poultry preparation.\u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/661603379752267776\u003c/p>\n\u003cp>A brief spin through this Twitter feed shows you the USDA Food Safety Social Media Person making very earnest work of what Social Media People are supposed to do: He or she jumps on trending topics, name-checks celebrities and the pop culture events du jour, and gets in line with holiday-themed and otherwise seasonally appropriate content.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/656853820933206016\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/650353482499772416\u003c/p>\n\u003cp>Underlying the patently insane tone of most of these tweets is this blanket assumption that every business, every organization that wants to be successful absolutely \u003cem>must\u003c/em> have social media accounts. That's where the kids are, after all -- might as well meet 'em where they live and teach 'em a thing or two about proper meat temperatures while you're at it!\u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/632965186622726144\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/624025019446882304\u003c/p>\n\u003cp>The question of whether anyone has actually been saved from foodborne illness via tweet is, on the other hand, surely up for debate. Is a guy who doesn't know to wash his hands after handling raw chicken really a guy who's following USDA Food Safety on Twitter? Is an irony-appreciating millennial who might not otherwise be open to messaging about listeria going to sit up and pay attention because of the hashtag #Sharknado3?\u003c/p>\n\u003cp>The official Instagram account of the TSA, meanwhile, takes a more detached stance. This account delivers to its 374,000 loyal followers a mostly objective window into the assorted grab-bag of concealed knives, guns and narcotics the governmental body confiscates daily from travelers at airports all over the country.\u003c/p>\n\u003cp>https://instagram.com/p/7bFyS1l95S/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/5NlI6cl9wj/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Also, portraits of cute drug-sniffing TSA dogs.\u003c/p>\n\u003cp>https://instagram.com/p/50Q69WF90s/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Sometimes the photos are accompanied by tips and information about which items, exactly, \u003ci>are\u003c/i> kosher to carry onto an aircraft (hint: no knives, guns, or narcotics), but mostly this account seems to operate from a place of gleeful voyeurism: Someone thought they were gonna get \u003cem>that\u003c/em> onto a plane?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/5sp2Ptl9y3/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/xnFiu3F99x/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Connecting with customers is a key aim of social media, and these posts do that, to be sure -- but the wrench in these interactions is that federal agencies don't have customers. We're not choosing the USDA Food Safety regulations over some other available option; we don't compare prices and decide to get searched by the TSA, specifically, when we fly. \u003cem>So why do they care if we like them? \u003c/em>\u003c/p>\n\u003cp>Okay, so likability might be the wrong noun here -- we could say their primary motive is to simply humanize an otherwise sterile, standardized and thoroughly regimented chunk of government, and to show that they are in fact performing a useful function; in the case of the TSA, especially, you're talking about an organization with whom most of the American populace positively dreads interaction. Yes, they're helping to keep us safe. They're also basically the dentists of the government world -- ones that can get you thrown in jail. (Related: The U.S. Border Patrol's Twitter feed is \u003ca href=\"https://twitter.com/CustomsBorder/status/659541357829206016\" target=\"_blank\">similar, but methier\u003c/a>.)\u003c/p>\n\u003cp>https://instagram.com/p/2t26i8F92S/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>So: Is it working? Unlike brand loyalty, which can be measured by what products we actually purchase following a social media interaction, there's pretty much no way to track whetherJohn Doe is feeling more warmly toward his TSA agent during a full-body search at SFO than he did prior to following the agency on Instagram. And, again, it's not exactly going to affect the TSA's bottom line.\u003c/p>\n\u003cp>What we're left with, then, is a snapshot of a specific moment in our collective understanding of social media's purpose as it evolves. Side by side with landmark social movements like Black Lives Matter -- which arguably coalesced and gained steam predominantly in the online world, with an aim of affecting real change in the tangible one -- we have brick-and-mortar agencies that perform self-evident functions feeling obvious pressure to contribute something, \u003cem>anything,\u003c/em> to the jumble of self-promotion and online noise that is social media, regardless of the value. No matter if a Twitter feed makes sense for your organization: Does your organization even exist, if it doesn't tweet? It's a vignette that I think will become more telling with time, as the first generation that has never known a world without Twitter or Instagram comes of age, and as businesses (hopefully) learn to wield social media as a tool without \u003ca href=\"http://www.adweek.com/socialtimes/brands-auto-replies-twitter/496033\" target=\"_blank\">embarrassing themselves\u003c/a> (or us) anymore than they already have.\u003c/p>\n\u003cp>In the meantime, if they're going to post it, we're going to enjoy it. And hey: once we surgically remove our palms from our faces, we might even learn something.\u003c/p>\n\u003cp>https://twitter.com/USDAFoodSafety/status/593823470816997376\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Underlying the patently insane tone of most of these tweets is this blanket assumption that every business, every organization that wants to be successful absolutely \u003cem>must\u003c/em> have social media accounts. That's where the kids are, after all -- might as well meet 'em where they live and teach 'em a thing or two about proper meat temperatures while you're at it!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The question of whether anyone has actually been saved from foodborne illness via tweet is, on the other hand, surely up for debate. Is a guy who doesn't know to wash his hands after handling raw chicken really a guy who's following USDA Food Safety on Twitter? Is an irony-appreciating millennial who might not otherwise be open to messaging about listeria going to sit up and pay attention because of the hashtag #Sharknado3?\u003c/p>\n\u003cp>The official Instagram account of the TSA, meanwhile, takes a more detached stance. This account delivers to its 374,000 loyal followers a mostly objective window into the assorted grab-bag of concealed knives, guns and narcotics the governmental body confiscates daily from travelers at airports all over the country.\u003c/p>\n\u003cp>https://instagram.com/p/7bFyS1l95S/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/5NlI6cl9wj/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Also, portraits of cute drug-sniffing TSA dogs.\u003c/p>\n\u003cp>https://instagram.com/p/50Q69WF90s/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Sometimes the photos are accompanied by tips and information about which items, exactly, \u003ci>are\u003c/i> kosher to carry onto an aircraft (hint: no knives, guns, or narcotics), but mostly this account seems to operate from a place of gleeful voyeurism: Someone thought they were gonna get \u003cem>that\u003c/em> onto a plane?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/5sp2Ptl9y3/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://instagram.com/p/xnFiu3F99x/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Connecting with customers is a key aim of social media, and these posts do that, to be sure -- but the wrench in these interactions is that federal agencies don't have customers. We're not choosing the USDA Food Safety regulations over some other available option; we don't compare prices and decide to get searched by the TSA, specifically, when we fly. \u003cem>So why do they care if we like them? \u003c/em>\u003c/p>\n\u003cp>Okay, so likability might be the wrong noun here -- we could say their primary motive is to simply humanize an otherwise sterile, standardized and thoroughly regimented chunk of government, and to show that they are in fact performing a useful function; in the case of the TSA, especially, you're talking about an organization with whom most of the American populace positively dreads interaction. Yes, they're helping to keep us safe. They're also basically the dentists of the government world -- ones that can get you thrown in jail. (Related: The U.S. Border Patrol's Twitter feed is \u003ca href=\"https://twitter.com/CustomsBorder/status/659541357829206016\" target=\"_blank\">similar, but methier\u003c/a>.)\u003c/p>\n\u003cp>https://instagram.com/p/2t26i8F92S/?taken-by=tsa\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>So: Is it working? Unlike brand loyalty, which can be measured by what products we actually purchase following a social media interaction, there's pretty much no way to track whetherJohn Doe is feeling more warmly toward his TSA agent during a full-body search at SFO than he did prior to following the agency on Instagram. And, again, it's not exactly going to affect the TSA's bottom line.\u003c/p>\n\u003cp>What we're left with, then, is a snapshot of a specific moment in our collective understanding of social media's purpose as it evolves. Side by side with landmark social movements like Black Lives Matter -- which arguably coalesced and gained steam predominantly in the online world, with an aim of affecting real change in the tangible one -- we have brick-and-mortar agencies that perform self-evident functions feeling obvious pressure to contribute something, \u003cem>anything,\u003c/em> to the jumble of self-promotion and online noise that is social media, regardless of the value. No matter if a Twitter feed makes sense for your organization: Does your organization even exist, if it doesn't tweet? It's a vignette that I think will become more telling with time, as the first generation that has never known a world without Twitter or Instagram comes of age, and as businesses (hopefully) learn to wield social media as a tool without \u003ca href=\"http://www.adweek.com/socialtimes/brands-auto-replies-twitter/496033\" target=\"_blank\">embarrassing themselves\u003c/a> (or us) anymore than they already have.\u003c/p>\n\u003cp>In the meantime, if they're going to post it, we're going to enjoy it. And hey: once we surgically remove our palms from our faces, we might even learn something.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Controversial Head of Filoli Estate Gone With No Explanation",
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"headTitle": "Controversial Head of Filoli Estate Gone With No Explanation | KQED",
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"content": "\u003cp>Every year more than 100,000 people visit Filoli, a Georgian-style mansion and formal gardens in Woodside. And more than 1,000 volunteers keep it running. This week, they \u003ca href=\"http://www.almanacnews.com/news/2015/11/11/filoli-head-cynthia-dagosta-is-no-longer-with-organization\" target=\"_blank\" rel=\"noopener\">got an email\u003c/a> from Filoli’s executive committee alerting them to the departure of Executive Director Cynthia D’Agosta and the search for an interim replacement.\u003c/p>\n\u003cp>Did she resign? Was she fired? The email doesn’t say, and a spokeswoman for Filoli wouldn’t elaborate. But the timing raises eyebrows, as Filoli’s biggest annual event, “\u003ca href=\"http://www.filoli.org/holiday-traditions/\" target=\"_blank\" rel=\"noopener\">Holiday Traditions\u003c/a>,” begins the day after Thanksgiving.\u003c/p>\n\u003cp>Last winter, after D’Agosta required all volunteers to sign a new legal agreement to continue at Filoli, roughly 100 left. The \u003ca href=\"http://ww2.kqed.org/news/2015/03/03/upset-at-filoli-100-plus-volunteers-quit-california-landmark-over-legal-waiver/\" target=\"_blank\" rel=\"noopener\">bitter battle\u003c/a> may well be the defining event of D’Agosta’s three-year tenure at Filoli. But it’s not clear whether that had anything to do with her departure.\u003c/p>\n\u003cp>[contextly_sidebar id=”FOJwuBH88ZkBCUXYLvqC8R4AfbDwVgn6″]\u003c/p>\n\u003cp>The new guidelines require volunteers to donate their services, perform duties as assigned, allow Filoli to use photos for promotional purposes and pay for medical costs incurred by accident, illness or injury associated with volunteering.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are trying to move Filoli out of a 40-year-old business plan and into today’s world, which is multifaceted and very litigious,” D’Agosta told KQED in March. Attempts to reach her for this story were unsuccessful.\u003c/p>\n\u003cp>After 36 years at Filoli, Judy Harris was one of those who left over the legal agreement, and the way it was handled. Regardless of what prompted D’Agosta’s departure, Harris wrote KQED, “I can not tell you how ecstatic I am!!!!!!!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Read the Email \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>We are writing to inform you that Executive Director Cynthia D’Agosta is no longer with Filoli. Carolyn Daley, Chair of the Governing Board’s Finance Committee and a member of the Governing Board Executive Committee will oversee Cynthia’s direct reports until an interim Executive Director can be named.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are confident that this change will not impact the continuing operations of Filoli or Holiday Traditions. As you know, Filoli has a strong staff and the Friends Organization and the Governing Board have committed leadership. HT is fully organized, staffed and in the final stages of preparation with a confident momentum of its own.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our plan is to immediately retain an interim Executive Director from a professional agency, followed by a search for a permanent replacement. During this transition period the Governing Board Executive Committee will provide continuing oversight of all Filoli operations and ongoing projects. We know we can count on the help and support of the Board and the Friend’s leadership.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We thank Cynthia for her contributions to Filoli and wish her the best. We thank you all for your support as we move forward.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Filoli Governing Board Executive Committee\u003c/em>\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year more than 100,000 people visit Filoli, a Georgian-style mansion and formal gardens in Woodside. And more than 1,000 volunteers keep it running. This week, they \u003ca href=\"http://www.almanacnews.com/news/2015/11/11/filoli-head-cynthia-dagosta-is-no-longer-with-organization\" target=\"_blank\" rel=\"noopener\">got an email\u003c/a> from Filoli’s executive committee alerting them to the departure of Executive Director Cynthia D’Agosta and the search for an interim replacement.\u003c/p>\n\u003cp>Did she resign? Was she fired? The email doesn’t say, and a spokeswoman for Filoli wouldn’t elaborate. But the timing raises eyebrows, as Filoli’s biggest annual event, “\u003ca href=\"http://www.filoli.org/holiday-traditions/\" target=\"_blank\" rel=\"noopener\">Holiday Traditions\u003c/a>,” begins the day after Thanksgiving.\u003c/p>\n\u003cp>Last winter, after D’Agosta required all volunteers to sign a new legal agreement to continue at Filoli, roughly 100 left. The \u003ca href=\"http://ww2.kqed.org/news/2015/03/03/upset-at-filoli-100-plus-volunteers-quit-california-landmark-over-legal-waiver/\" target=\"_blank\" rel=\"noopener\">bitter battle\u003c/a> may well be the defining event of D’Agosta’s three-year tenure at Filoli. But it’s not clear whether that had anything to do with her departure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The new guidelines require volunteers to donate their services, perform duties as assigned, allow Filoli to use photos for promotional purposes and pay for medical costs incurred by accident, illness or injury associated with volunteering.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are trying to move Filoli out of a 40-year-old business plan and into today’s world, which is multifaceted and very litigious,” D’Agosta told KQED in March. Attempts to reach her for this story were unsuccessful.\u003c/p>\n\u003cp>After 36 years at Filoli, Judy Harris was one of those who left over the legal agreement, and the way it was handled. Regardless of what prompted D’Agosta’s departure, Harris wrote KQED, “I can not tell you how ecstatic I am!!!!!!!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Read the Email \u003c/strong>\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>We are writing to inform you that Executive Director Cynthia D’Agosta is no longer with Filoli. Carolyn Daley, Chair of the Governing Board’s Finance Committee and a member of the Governing Board Executive Committee will oversee Cynthia’s direct reports until an interim Executive Director can be named.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are confident that this change will not impact the continuing operations of Filoli or Holiday Traditions. As you know, Filoli has a strong staff and the Friends Organization and the Governing Board have committed leadership. HT is fully organized, staffed and in the final stages of preparation with a confident momentum of its own.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our plan is to immediately retain an interim Executive Director from a professional agency, followed by a search for a permanent replacement. During this transition period the Governing Board Executive Committee will provide continuing oversight of all Filoli operations and ongoing projects. We know we can count on the help and support of the Board and the Friend’s leadership.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We thank Cynthia for her contributions to Filoli and wish her the best. We thank you all for your support as we move forward.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Filoli Governing Board Executive Committee\u003c/em>\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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