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"content": "\u003cp>\u003cstrong>Sept. 26-Nov. 11: \u003c/strong>Robert O’Hara plays a theater game here with what works out to be a big payoff. In this San Francisco Playhouse production, O’Hara presents an intervention at a family barbecue, first with a white family playing out their dysfunctional relationships, and then a black family in the same setting and situation.\u003c/p>\n\u003cfigure id=\"attachment_13807630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg\" alt=\"Halili Knox and Adrian Roberts star in the SF Playhouse production of 'Barbecue'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Barbecue-Halili-Knox-and-Adrian-Roberts-1-e1504733590388-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halili Knox and Adrian Roberts star in the SF Playhouse production of ‘Barbecue.’ \u003ccite>(Photo: Ken Levin/SF Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>O’Hara, a gay, black playwright, is always good at upending our prejudices and preconceptions about family and race, and this structure should give him lots of room to make audiences squirm. Bay Area theater veteran Margo Hall does a terrific job playing a role and directing the dual casts, It’s funny and touching, and very real. \u003ca href=\"https://www.sfplayhouse.org/sfph/2017-2018-season/barbecue/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/239897633\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, we welcome back Jamedra Brown Fleischman, co-host of KQED’s podcast \u003cem>The Cooler\u003c/em>, to help with the show. And we found plenty to entertain us: a singer with a luscious voice, a black-light experience that’s a great family choice, the answer to the question, “what does art sound like,” and the kings of surf-goth.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Sept. 26\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Singer-songwriter \u003c/a>\u003ca href=\"https://wp.me/p4oi3Y-VVE7\" target=\"_blank\" rel=\"noopener noreferrer\">Moses Sumney plays the Great American Music Hall\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 25-27\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVEn\" target=\"_blank\" rel=\"noopener noreferrer\">Crotchety Comedian John Witherspoon comes to San Jose Improv\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 16:\u003c/strong>\u003ca href=\"http://www.blacklightslide.com/sanjoseca/\" target=\"_blank\" rel=\"noopener noreferrer\"> Glowing up with a blacklight slide at the Santa Clara County Fairgrounds\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Through Jan. 1, 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVEM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soundtracks\u003c/em> is an exhibition at SFMOMA that you have to hear to believe \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 6 and 8-11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVER\" target=\"_blank\" rel=\"noopener noreferrer\">SoCal pop stars The Growlers play San Jose and San Francisco \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27, Sept. 1, and Sept 11: \u003c/strong>\u003ca href=\"http://www.livinonahighnote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The legendary gospel and soul singer Mavis Staples is busy in Northern California \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">Thronies Alert: a season finale viewing party for \u003cem>Game of Thrones\u003c/em> at the New Parkway in Oakland\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 27:\u003c/strong> \u003ca href=\"https://allevents.in/oakland/hella-insecure-battle-of-the-sexes-oakland-edition/140263023229703\" target=\"_blank\" rel=\"noopener noreferrer\">And \u003cem>Insecure\u003c/em> fans get a season finale party of their own, at the Au Lounge, also in Oakland\u003c/a> \u003ca href=\"https://ticketing.us.veezi.com/purchase/3985?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, KQED’s Cy Musiker welcomes Marc Bamuthi Joseph, an artist and curator of performing arts at the Yerba Buena Center for the Arts. The two talk about an ancient masquerade tradition, the art and spirit of Oakland, and a joyous juke joint sound. The podcast also features a visit with Chef Joey Altman, and exposes his secret musical life. Listen to the show above, and click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>July 26-Aug. 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/everyone-deserves-a-great-moment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Making of a Great Moment,\u003c/em> a new play, at Z Space in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 9-Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/african-american-history-as-a-homeric-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16-27:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Ethos de Masquerade \u003c/em>at the Strand Theater in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16 & 17\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/the-art-soul-and-spirit-of-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\"> The Art and Soul Festival fills downtown Oakland with big crowds and a joyful spirit\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17-20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/uncovering-great-jazz-and-rb-of-the-past/\" target=\"_blank\" rel=\"noopener noreferrer\">The Genius of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals at SFJAZZ in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18:\u003c/strong> \u003ca href=\"http://www.theindependentsf.com/event/1495109-matthew-sweet-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Matthew Sweet at the Independent \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18, 24, 25:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/soulful-jook-joint-music-from-quinn-deveaux/%E2%80%8E\" target=\"_blank\" rel=\"noopener noreferrer\"> Bluesman Quinn DeVeaux at the New Parish, Armando’s and the David Brower Center\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The hunt is on! \u003ca href=\"http://noisepop.com/\">Noise Pop\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/\">KQED Arts\u003c/a> present an adventure-filled Instagram Hunt at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>One day only\u003c/li>\n\u003cli>10 emojis to find!\u003c/li>\n\u003c/ul>\n\u003cp>On Saturday, Aug. 19, we’ll place 10 oversized emojis\u003ca href=\"http://www.20thstreetblockparty.com/information\"> within the boundaries\u003c/a> of Noise Pop’s Block Party on 20th and 19th streets, between Bryant and Harrison and Florida and Alabama Streets. Your task? FIND THEM. \u003cstrong>The first three people to find all ten emoji between 2pm and 5pm will receive awesome prizes\u003c/strong> including: concert tickets, swag and even a night on the town!\u003c/p>\n\u003cp>Don’t forget to follow \u003ca href=\"https://www.instagram.com/noisepop/\">@NoisePop\u003c/a> and \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_ Arts\u003c/a> on Instagram, where we’ll share clues leading up to this Saturday’s hunt.\u003c/p>\n\u003ch4>\u003cb>To Play\u003c/b>\u003c/h4>\n\u003cul>\n\u003cli>Follow Noise Pop and KQED Arts’ on Instagram — so you don’t miss out on the clues!\u003c/li>\n\u003cli>Once you find an emoji, snap a picture of it at the secret location (selfies encouraged), then post to your Instagram or Instagram Stories using the hashtag \u003cstrong>#NPxKQEDHunt\u003c/strong>.\u003c/li>\n\u003cli>Once you find all 10, bingo! Send \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_Arts\u003c/a> a direct message to be eligible to win.\u003c/li>\n\u003cli>\u003cspan style=\"text-decoration: underline\">Important\u003c/span>: You must make your account public to be eligibile to win.\u003c/li>\n\u003c/ul>\n\u003cfigure class=\"wp-caption alignnone\">\u003c/figure>\n\u003ch4>\u003cb>Prizes\u003c/b>\u003c/h4>\n\u003cp>\u003cstrong>First Place:\u003c/strong> A ‘golden ticket’ to Cafe du Nord and Swedish American Hall for September. This gives you access to any and all shows at either venue for the month of September.\u003c/p>\n\u003cp>\u003cstrong>Second Place:\u003c/strong> One pair of tickets to the 20th Street Block Party after-party, with Neon Indian spinning a DJ set at Cafe du Nord.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Third Place:\u003c/strong> One merchandise package filled with KQED and Noise Pop goodies.\u003c/p>\n\u003ch4>\u003cb>Clues\u003c/b>\u003c/h4>\n\u003cp>\u003cem>Find all ten emoji within the boundaries of Noise Pop’s 20th Street Block Party using the clues below:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery ids=\"13806041,13806050,13806046,13806047,13806049,13806044,13806051,13806042,13806048,13806043\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hunt is on! \u003ca href=\"http://noisepop.com/\">Noise Pop\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/\">KQED Arts\u003c/a> present an adventure-filled Instagram Hunt at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>One day only\u003c/li>\n\u003cli>10 emojis to find!\u003c/li>\n\u003c/ul>\n\u003cp>On Saturday, Aug. 19, we’ll place 10 oversized emojis\u003ca href=\"http://www.20thstreetblockparty.com/information\"> within the boundaries\u003c/a> of Noise Pop’s Block Party on 20th and 19th streets, between Bryant and Harrison and Florida and Alabama Streets. Your task? FIND THEM. \u003cstrong>The first three people to find all ten emoji between 2pm and 5pm will receive awesome prizes\u003c/strong> including: concert tickets, swag and even a night on the town!\u003c/p>\n\u003cp>Don’t forget to follow \u003ca href=\"https://www.instagram.com/noisepop/\">@NoisePop\u003c/a> and \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_ Arts\u003c/a> on Instagram, where we’ll share clues leading up to this Saturday’s hunt.\u003c/p>\n\u003ch4>\u003cb>To Play\u003c/b>\u003c/h4>\n\u003cul>\n\u003cli>Follow Noise Pop and KQED Arts’ on Instagram — so you don’t miss out on the clues!\u003c/li>\n\u003cli>Once you find an emoji, snap a picture of it at the secret location (selfies encouraged), then post to your Instagram or Instagram Stories using the hashtag \u003cstrong>#NPxKQEDHunt\u003c/strong>.\u003c/li>\n\u003cli>Once you find all 10, bingo! Send \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_Arts\u003c/a> a direct message to be eligible to win.\u003c/li>\n\u003cli>\u003cspan style=\"text-decoration: underline\">Important\u003c/span>: You must make your account public to be eligibile to win.\u003c/li>\n\u003c/ul>\n\u003cfigure class=\"wp-caption alignnone\">\u003c/figure>\n\u003ch4>\u003cb>Prizes\u003c/b>\u003c/h4>\n\u003cp>\u003cstrong>First Place:\u003c/strong> A ‘golden ticket’ to Cafe du Nord and Swedish American Hall for September. This gives you access to any and all shows at either venue for the month of September.\u003c/p>\n\u003cp>\u003cstrong>Second Place:\u003c/strong> One pair of tickets to the 20th Street Block Party after-party, with Neon Indian spinning a DJ set at Cafe du Nord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Third Place:\u003c/strong> One merchandise package filled with KQED and Noise Pop goodies.\u003c/p>\n\u003ch4>\u003cb>Clues\u003c/b>\u003c/h4>\n\u003cp>\u003cem>Find all ten emoji within the boundaries of Noise Pop’s 20th Street Block Party using the clues below:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Life With #NoFilter in SF's Instagram-Ready Color Factory",
"headTitle": "Life With #NoFilter in SF’s Instagram-Ready Color Factory | KQED",
"content": "\u003cp>When was the last time you saw such a frenzy for bright colors? The ubiquitously buzzed-about \u003ca href=\"http://www.colorfactory.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Color Factory\u003c/a>, a pop-up interactive art experience near San Francisco’s Union Square, recently released an additional 26 days of admission tickets for September — an extension of the original (and completely sold out) August run. Lest you scramble to open that extra tab in your browser: you’re too late. And scalpers on Craigslist are selling tickets — originally priced at $32 — at around $80 a pop.\u003c/p>\n\u003cp>Even before Color Factory opened its doors to the public, headlines appeared across the internet making sweeping predictions. \u003cem>Condé Nast Traveler\u003c/em> declared \u003ca href=\"http://www.cntraveler.com/story/color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s Color Factory Is About to Be All Over Your Instagram.”\u003c/a> \u003cem>Architectural Digest\u003c/em> called it \u003ca href=\"http://www.architecturaldigest.com/story/color-factory-pop-up-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">“an Instagrammer’s dream come true.”\u003c/a> Curbed declared Color Factory \u003ca href=\"https://sf.curbed.com/2017/7/31/16069956/color-factory-sf\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s newest Instagram hotspot.”\u003c/a>\u003c/p>\n\u003cp>Do you sense a pattern?\u003c/p>\n\u003cfigure id=\"attachment_13804978\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg\" alt=\"The exterior of Color Factory on San Francisco's Sutter Street.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Color Factory on San Francisco’s Sutter Street. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before jumping to the conclusion that Color Factory is a sickly sweet honey trap for the shutter-happy selfie-posting folk who use \u003ca href=\"https://www.instagram.com/explore/tags/blessed/\" target=\"_blank\" rel=\"noopener noreferrer\">#blessed\u003c/a> completely unironically, consider the fact that it could be all of the above — it is, it totally is — and also something else.\u003c/p>\n\u003cp>Color Factory has \u003cem>levels, yo\u003c/em>. Both literally (it spans two floors at 575 Sutter Street) and figuratively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Conceived by Jordan Ferney of \u003ca href=\"http://ohhappyday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Happy Day\u003c/a> (a “craft and celebration” blog with an accompanying party supply shop), Color Factory came to life quickly. Ferney had the idea in January. In April, she brought on local artist and chromophile \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Rosenberg\u003c/a> as creative director; New York-based designer \u003ca href=\"http://work.theindigobunting.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erin Jang\u003c/a> served as art director of the project. The team didn’t get access to the building until May.\u003c/p>\n\u003cfigure id=\"attachment_13804966\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg\" alt=\"A spot to sit and contemplate color, between the confetti room and Tom Stayte's installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A spot to sit and contemplate color, between the confetti room and Tom Stayte’s installation. \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what sounds like an insane production schedule (between this and her recently opened \u003ca href=\"http://sitesunseen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Natoma Street public art installation\u003c/a>, one wonders if Rosenberg ever actually sleeps), Color Factory is up and running smoothly.\u003c/p>\n\u003cp>I say “smoothly” because at the time of my visit, five days into the project’s run, everyone visiting Color Factory was smiling. That’s a pretty good metric for a certain kind of success. Another kind of success is determined by the “net” line on an Excel spreadsheet. Another is evaluated by ticket pages that read “SOLD OUT” ad infinitum. And yet another is determined by what my social media specialist coworker identifies as “engagement.”\u003c/p>\n\u003cfigure id=\"attachment_13804979\" class=\"wp-caption aligncenter\" style=\"max-width: 1169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/BallPit.jpg\" alt=\"Public images tagged #colorfactoryco basking in the 'Yellow Ball Pit.'\" width=\"1169\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit.jpg 1169w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-375x187.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-520x260.jpg 520w\" sizes=\"(max-width: 1169px) 100vw, 1169px\">\u003cfigcaption class=\"wp-caption-text\">Public images tagged #colorfactoryco basking in the ‘Yellow Ball Pit.’ \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this respect, Color Factory is #winning. At press time, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactory/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactory\u003c/a> yields 3,573 public posts on Instagram, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactoryco/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactoryco\u003c/a> (the “official” hashtag) another 1,735. In an innovation I can easily see museums adopting in the next two years, Color Factory has selfie stations to expedite the documentation process: a unique card given to each visitor can be scanned at various photogenic points in the installations, triggering a countdown and sending the resulting images directly to your email. A clear favorite, for obvious reasons, is the ceiling-mounted camera snapping pics in the yellow ball pit.\u003c/p>\n\u003cp>\u003cem>I know\u003c/em>, you say, \u003cem>I’ve seen the pictures. So isn’t Color Factory just an Instagram factory? \u003c/em>\u003c/p>\n\u003cp>Well, yes and no. I’ll start with what Color Factory is not. It’s not \u003ca href=\"https://www.exploratorium.edu/visit/central-gallery/colored-shadows\" target=\"_blank\" rel=\"noopener noreferrer\">an Exploratorium exhibit\u003c/a>; you won’t learn how the human eye perceives and processes color. It’s not an \u003ca href=\"https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/\" target=\"_blank\" rel=\"noopener noreferrer\">Olafur Eliasson-esque\u003c/a> meditation on art history and the visible spectrum. It’s not a social history lesson on the various connotations of color.\u003c/p>\n\u003cp>It’s also, importantly, \u003cem>not\u003c/em> an art exhibit — though artists did work on it, and parts of it are art.\u003c/p>\n\u003cfigure id=\"attachment_13804957\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg\" alt=\"Stepping out of Jacob Dahlgren's 'The Wonderful World of Abstraction.'\" width=\"1080\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-960x1198.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-520x649.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Stepping out of Jacob Dahlgren’s ‘The Wonderful World of Abstraction.’ \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to a slew of “stations” dreamed up by the creative team, Rosenberg commissioned artists and designers she wanted to “work with, support and protect” to paint illustrations, organize spaces and create installations. Because so few outlets list the whole cast of collaborators, I’m putting them all here: Jacob Dahlgren, Tom Stayte, Geronimo Balloons, Tosha Stimage, Stanton Jones, Andrew Neyer and Andy J. Miller, Carissa Potter, Jessica Hische, Rebecca Wright and Randi Brookman Harris.\u003c/p>\n\u003cp>This means that in addition to areas set up to provide pure, unabashed pleasure (look no further than the confetti room), slyly critical installations enter the mix. Stimage’s \u003ci>Oranges: Various Matter with Perceptual Properties Between 590-620nm\u003c/i> functions as an inventory of orange items — pool noodles, goldfish crackers, basketball lanterns — but also continues the artist’s investigation of orange (the fruit and color) as \u003ca href=\"https://ww2.kqed.org/arts/2017/06/22/tosha-stimages-world-of-oranges-language-and-black-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">an analogy for black identity\u003c/a>. Sure, her carefully arranged \u003ca href=\"http://www.citylimitsgallery.com/death-valley-covered-in-flowers\" target=\"_blank\" rel=\"noopener noreferrer\">solo show at City Limits\u003c/a> had more depth and breadth, but Stimage’s Color Factory installation is a rare occurrence in the world of emerging artists: a paid opportunity to explore one’s practice and to have that work be seen by thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_13804962\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg\" alt=\"View of Tom Stayte's lavender '#selfie' installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">View of Tom Stayte’s lavender ‘#selfie’ installation. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most self-aware installation of the bunch comes from London-based artist Tom Stayte. In a lavender room, a computer program culls through Instagram for images hashtagged #selfie, thermal printing one image every 12 seconds on a roll of lavender paper. The self-portraits litter the floor, leaving you no other option but to step on strangers’ faces. Visitors to Color Factory can jump to the front of the printing queue by tagging their photo #TomStayte — feeding the artist’s social media presence with their own desire to get a printed souvenir.\u003c/p>\n\u003cp>Another thing Color Factory isn’t: purely visual stimulation. Instagram doesn’t quite capture the full range of sensory experiences here. There are things to taste: color-coordinated macaroons that arrive on a spinning tabletop, charcoal lemonade and banana-flavored soft-serve. Things to smell: hundreds of rubbery balloons and a wall of scratch-and-sniff stickers, their scents ranging from lovely to repulsive. Things to hear: silver-themed songs in the “disco room,” giggles emerging from Dahlgren’s dense cube of hanging ribbons. And things to feel: the weight of oversize green markers, submersion in a pit of plastic balls.\u003c/p>\n\u003cfigure id=\"attachment_13804964\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg\" alt=\"The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons.\" width=\"1080\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-800x904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-768x868.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-960x1084.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-375x424.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-520x587.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as I entered Color Factory filled with preconceived notions — mostly cynical feelings towards self-documentation against variously colored backgrounds — spending time in each of the rooms, surrounded by gleeful adults and children who already know how to have fun even without the help of colored stripes, won me over.\u003c/p>\n\u003cp>I can’t help but return to the smiles. How often do you see full-grown adults belly flopping without abandon in a sea of yellow orbs? Cheerfully tossing handfuls of confetti in the air? Drawing on the walls? Laughing wholeheartedly at punny bathroom humor? How can you argue with that?\u003c/p>\n\u003cfigure id=\"attachment_13804968\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg\" alt=\"Inside the Color Factory's 'disco room.'\" width=\"1080\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-800x890.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-1020x1135.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-960x1068.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-520x579.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Color Factory’s ‘disco room.’ \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, you can do all of the above while taking a picture of yourself — but by the end of my tour through Color Factory, I saw people just \u003ci>doing\u003c/i> things for the sake of doing them. Unselfconsciously. They were, forgive the cliché, living in the moment.\u003c/p>\n\u003cp>There’s a conversation to be had about art and Instagram, Instagram and the museum, museum selfies and what it means to look at art through the screen of your phone instead of with your own eyeballs. But Color Factory isn’t the right scapegoat for any of this. And if this pop-up on Sutter Street is helping people loosen up a bit, take pleasure in bright colors, learn about artists they wouldn’t otherwise know, and remember how to simply \u003cem>play\u003c/em>… who cares how many photos they post in the process?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "It's tougher to get into than 'Hamilton.' What is the Color Factory and why is it all over your Instagram feed?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When was the last time you saw such a frenzy for bright colors? The ubiquitously buzzed-about \u003ca href=\"http://www.colorfactory.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Color Factory\u003c/a>, a pop-up interactive art experience near San Francisco’s Union Square, recently released an additional 26 days of admission tickets for September — an extension of the original (and completely sold out) August run. Lest you scramble to open that extra tab in your browser: you’re too late. And scalpers on Craigslist are selling tickets — originally priced at $32 — at around $80 a pop.\u003c/p>\n\u003cp>Even before Color Factory opened its doors to the public, headlines appeared across the internet making sweeping predictions. \u003cem>Condé Nast Traveler\u003c/em> declared \u003ca href=\"http://www.cntraveler.com/story/color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s Color Factory Is About to Be All Over Your Instagram.”\u003c/a> \u003cem>Architectural Digest\u003c/em> called it \u003ca href=\"http://www.architecturaldigest.com/story/color-factory-pop-up-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">“an Instagrammer’s dream come true.”\u003c/a> Curbed declared Color Factory \u003ca href=\"https://sf.curbed.com/2017/7/31/16069956/color-factory-sf\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s newest Instagram hotspot.”\u003c/a>\u003c/p>\n\u003cp>Do you sense a pattern?\u003c/p>\n\u003cfigure id=\"attachment_13804978\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg\" alt=\"The exterior of Color Factory on San Francisco's Sutter Street.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Color Factory on San Francisco’s Sutter Street. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before jumping to the conclusion that Color Factory is a sickly sweet honey trap for the shutter-happy selfie-posting folk who use \u003ca href=\"https://www.instagram.com/explore/tags/blessed/\" target=\"_blank\" rel=\"noopener noreferrer\">#blessed\u003c/a> completely unironically, consider the fact that it could be all of the above — it is, it totally is — and also something else.\u003c/p>\n\u003cp>Color Factory has \u003cem>levels, yo\u003c/em>. Both literally (it spans two floors at 575 Sutter Street) and figuratively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Conceived by Jordan Ferney of \u003ca href=\"http://ohhappyday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Happy Day\u003c/a> (a “craft and celebration” blog with an accompanying party supply shop), Color Factory came to life quickly. Ferney had the idea in January. In April, she brought on local artist and chromophile \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Rosenberg\u003c/a> as creative director; New York-based designer \u003ca href=\"http://work.theindigobunting.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erin Jang\u003c/a> served as art director of the project. The team didn’t get access to the building until May.\u003c/p>\n\u003cfigure id=\"attachment_13804966\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg\" alt=\"A spot to sit and contemplate color, between the confetti room and Tom Stayte's installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A spot to sit and contemplate color, between the confetti room and Tom Stayte’s installation. \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what sounds like an insane production schedule (between this and her recently opened \u003ca href=\"http://sitesunseen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Natoma Street public art installation\u003c/a>, one wonders if Rosenberg ever actually sleeps), Color Factory is up and running smoothly.\u003c/p>\n\u003cp>I say “smoothly” because at the time of my visit, five days into the project’s run, everyone visiting Color Factory was smiling. That’s a pretty good metric for a certain kind of success. Another kind of success is determined by the “net” line on an Excel spreadsheet. Another is evaluated by ticket pages that read “SOLD OUT” ad infinitum. And yet another is determined by what my social media specialist coworker identifies as “engagement.”\u003c/p>\n\u003cfigure id=\"attachment_13804979\" class=\"wp-caption aligncenter\" style=\"max-width: 1169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/BallPit.jpg\" alt=\"Public images tagged #colorfactoryco basking in the 'Yellow Ball Pit.'\" width=\"1169\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit.jpg 1169w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-375x187.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-520x260.jpg 520w\" sizes=\"(max-width: 1169px) 100vw, 1169px\">\u003cfigcaption class=\"wp-caption-text\">Public images tagged #colorfactoryco basking in the ‘Yellow Ball Pit.’ \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this respect, Color Factory is #winning. At press time, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactory/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactory\u003c/a> yields 3,573 public posts on Instagram, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactoryco/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactoryco\u003c/a> (the “official” hashtag) another 1,735. In an innovation I can easily see museums adopting in the next two years, Color Factory has selfie stations to expedite the documentation process: a unique card given to each visitor can be scanned at various photogenic points in the installations, triggering a countdown and sending the resulting images directly to your email. A clear favorite, for obvious reasons, is the ceiling-mounted camera snapping pics in the yellow ball pit.\u003c/p>\n\u003cp>\u003cem>I know\u003c/em>, you say, \u003cem>I’ve seen the pictures. So isn’t Color Factory just an Instagram factory? \u003c/em>\u003c/p>\n\u003cp>Well, yes and no. I’ll start with what Color Factory is not. It’s not \u003ca href=\"https://www.exploratorium.edu/visit/central-gallery/colored-shadows\" target=\"_blank\" rel=\"noopener noreferrer\">an Exploratorium exhibit\u003c/a>; you won’t learn how the human eye perceives and processes color. It’s not an \u003ca href=\"https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/\" target=\"_blank\" rel=\"noopener noreferrer\">Olafur Eliasson-esque\u003c/a> meditation on art history and the visible spectrum. It’s not a social history lesson on the various connotations of color.\u003c/p>\n\u003cp>It’s also, importantly, \u003cem>not\u003c/em> an art exhibit — though artists did work on it, and parts of it are art.\u003c/p>\n\u003cfigure id=\"attachment_13804957\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg\" alt=\"Stepping out of Jacob Dahlgren's 'The Wonderful World of Abstraction.'\" width=\"1080\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-960x1198.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-520x649.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Stepping out of Jacob Dahlgren’s ‘The Wonderful World of Abstraction.’ \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to a slew of “stations” dreamed up by the creative team, Rosenberg commissioned artists and designers she wanted to “work with, support and protect” to paint illustrations, organize spaces and create installations. Because so few outlets list the whole cast of collaborators, I’m putting them all here: Jacob Dahlgren, Tom Stayte, Geronimo Balloons, Tosha Stimage, Stanton Jones, Andrew Neyer and Andy J. Miller, Carissa Potter, Jessica Hische, Rebecca Wright and Randi Brookman Harris.\u003c/p>\n\u003cp>This means that in addition to areas set up to provide pure, unabashed pleasure (look no further than the confetti room), slyly critical installations enter the mix. Stimage’s \u003ci>Oranges: Various Matter with Perceptual Properties Between 590-620nm\u003c/i> functions as an inventory of orange items — pool noodles, goldfish crackers, basketball lanterns — but also continues the artist’s investigation of orange (the fruit and color) as \u003ca href=\"https://ww2.kqed.org/arts/2017/06/22/tosha-stimages-world-of-oranges-language-and-black-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">an analogy for black identity\u003c/a>. Sure, her carefully arranged \u003ca href=\"http://www.citylimitsgallery.com/death-valley-covered-in-flowers\" target=\"_blank\" rel=\"noopener noreferrer\">solo show at City Limits\u003c/a> had more depth and breadth, but Stimage’s Color Factory installation is a rare occurrence in the world of emerging artists: a paid opportunity to explore one’s practice and to have that work be seen by thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_13804962\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg\" alt=\"View of Tom Stayte's lavender '#selfie' installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">View of Tom Stayte’s lavender ‘#selfie’ installation. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most self-aware installation of the bunch comes from London-based artist Tom Stayte. In a lavender room, a computer program culls through Instagram for images hashtagged #selfie, thermal printing one image every 12 seconds on a roll of lavender paper. The self-portraits litter the floor, leaving you no other option but to step on strangers’ faces. Visitors to Color Factory can jump to the front of the printing queue by tagging their photo #TomStayte — feeding the artist’s social media presence with their own desire to get a printed souvenir.\u003c/p>\n\u003cp>Another thing Color Factory isn’t: purely visual stimulation. Instagram doesn’t quite capture the full range of sensory experiences here. There are things to taste: color-coordinated macaroons that arrive on a spinning tabletop, charcoal lemonade and banana-flavored soft-serve. Things to smell: hundreds of rubbery balloons and a wall of scratch-and-sniff stickers, their scents ranging from lovely to repulsive. Things to hear: silver-themed songs in the “disco room,” giggles emerging from Dahlgren’s dense cube of hanging ribbons. And things to feel: the weight of oversize green markers, submersion in a pit of plastic balls.\u003c/p>\n\u003cfigure id=\"attachment_13804964\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg\" alt=\"The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons.\" width=\"1080\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-800x904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-768x868.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-960x1084.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-375x424.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-520x587.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as I entered Color Factory filled with preconceived notions — mostly cynical feelings towards self-documentation against variously colored backgrounds — spending time in each of the rooms, surrounded by gleeful adults and children who already know how to have fun even without the help of colored stripes, won me over.\u003c/p>\n\u003cp>I can’t help but return to the smiles. How often do you see full-grown adults belly flopping without abandon in a sea of yellow orbs? Cheerfully tossing handfuls of confetti in the air? Drawing on the walls? Laughing wholeheartedly at punny bathroom humor? How can you argue with that?\u003c/p>\n\u003cfigure id=\"attachment_13804968\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg\" alt=\"Inside the Color Factory's 'disco room.'\" width=\"1080\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-800x890.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-1020x1135.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-960x1068.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-520x579.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Color Factory’s ‘disco room.’ \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, you can do all of the above while taking a picture of yourself — but by the end of my tour through Color Factory, I saw people just \u003ci>doing\u003c/i> things for the sake of doing them. Unselfconsciously. They were, forgive the cliché, living in the moment.\u003c/p>\n\u003cp>There’s a conversation to be had about art and Instagram, Instagram and the museum, museum selfies and what it means to look at art through the screen of your phone instead of with your own eyeballs. But Color Factory isn’t the right scapegoat for any of this. And if this pop-up on Sutter Street is helping people loosen up a bit, take pleasure in bright colors, learn about artists they wouldn’t otherwise know, and remember how to simply \u003cem>play\u003c/em>… who cares how many photos they post in the process?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-zahras-picks-hamlet-sings-standing-up-for-books-and-a-desi-comedy-fest",
"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"headTitle": "Cy and Zahra’s Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"content": "\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0e5jPX3ysY8\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfUkLAvU4t4&t=203s\u003c/p>\n\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjCTIq6JVgU\u003c/p>\n\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AxqYr-9G21o&t=1127s\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Do List this week features music from Sun Ra and Rahsaan Roland Kirk, singing from Hamlet, standup comedy and new plays.",
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"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"headline": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\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/0e5jPX3ysY8'\n title='//www.youtube.com/embed/0e5jPX3ysY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\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/nfUkLAvU4t4'\n title='//www.youtube.com/embed/nfUkLAvU4t4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qjCTIq6JVgU'\n title='//www.youtube.com/embed/qjCTIq6JVgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\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/AxqYr-9G21o'\n title='//www.youtube.com/embed/AxqYr-9G21o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Cult of LaCroix: Why Everyone's Gone Crazy over Canned Water",
"title": "The Cult of LaCroix: Why Everyone's Gone Crazy over Canned Water",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/09/LaCroixx.mp3\" title=\"Why Is Everyone So Obsessed with LaCroix and Mercury in Retrograde?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>None of us drink enough water. Or at least that used to be true. In the last few years, a sparkling water brand called LaCroix has gained popularity, reaching fever pitch last summer as devotees wore \u003ca href=\"https://static1.squarespace.com/static/56aa8c8b8b38d4b84cb93b70/56b7ca4f3c44d80d095f1f40/56b91381e707ebc576b886e2/1454969740939/Mikaela+Hamilton-+La+Croix+-48.jpg?format=2500w\">LaCroixs Over Boys t-shirts\u003c/a>; posed with their water \u003ca href=\"https://www.instagram.com/explore/tags/livelacroix/\">cans on Instagram\u003c/a>; flocked to see \u003ca href=\"https://broadly.vice.com/en_us/article/zmbeva/portraits-of-brooklynites-flocking-to-massive-la-croix-wall-in-new-whole-foods\">a fully-stocked wall \u003c/a>of the stuff at the new Williamsburg Whole Foods; created their own can designs and flavors like \"Male Tears\" on \u003ca href=\"http://mylacroix.com/\">mylacroix.com\u003c/a>; crafted signature LaCroix cocktails like the \u003ca href=\"http://gizmodo.com/9-cocktails-made-with-lacroix-a-sparkling-water-with-a-1718567132\">Pina Croixlada\u003c/a>; sold \u003ca href=\"https://www.etsy.com/listing/478686595/tangerine-la-croix-love?ref=market\">needlepoint art\u003c/a>, \u003ca href=\"https://www.etsy.com/listing/494189549/neon-la-croix-enamel-pin?ref=market\">enamel pins\u003c/a>, and \u003ca href=\"https://static1.squarespace.com/static/57a22b50ebbd1adfd69910ec/t/58054f7febbd1a1a00cada09/1476743046529/?format=300w\">watercolors\u003c/a> of the cans with \"Can't Stop, Won't Stop\" written underneath; and even penned rap songs about how great it feels to be \u003ca href=\"https://www.youtube.com/watch?v=l-d0N6uahCw\" target=\"_blank\" rel=\"noopener noreferrer\">sippin' on LaCroix\u003c/a>.\u003c/p>\n\u003cp>This last example, by LaCroix fanatic RAKEEM, includes lyrics like \"I know it's only carbonated water; sometimes I wish I was Beyoncé's daughter\" and \"When you're sippin' on LaCroix, you know it brings you joy.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l-d0N6uahCw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what's the deal here? Why are so many obsessed with water, of all things? Where did this brand come from? How do you pronounce it? I did some digging and found the answers to these questions and more.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>How do you pronounce it?\u003c/strong>\u003c/p>\n\u003cp>First things first, how does one accurately pronounce the name? Based on the brand name's spelling, the inclination is to pronounce it the French way. For those who didn't randomly get a French minor in college like me, I'll use it in a sentence: \u003cem>Let them drink La-kwa!\u003c/em> But the water doesn't come from a babbling brook in Provence. The water actually comes from... Wisconsin, and takes its name from that state's St. Croix River. And because Americans are heathens, it's pronounced \u003cem>La-croy\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Where and when was the brand created?\u003c/strong>\u003c/p>\n\u003cp>The brand got its start in a family-owned Wisconsin brewery back in 1981. It stayed local for many years, before being acquired by the National Beverage Corporation in the mid '90s. CEO Nick A. Caporella's strategy for making LaCroix a hit on a national scale? Redesigning the can with a retro, bright-colored look that's reminiscent of those \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/68/4b/50/684b501a371737acfca0832fe3753c8d.jpg\">paper dentist-office cups\u003c/a> from the '80s. Quite the gamble, considering that the sight could trigger horrific memories of suction tubes and molar drills, but the new look was a hit.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>What sets it apart from other carbonated drinks?\u003c/strong>\u003c/p>\n\u003cp>Eye-catching aesthetic aside, it's also what's inside the can that people love so much. In contrast to other brands that purport to be full of vitamins, but are mostly sugar, LaCroix loudly trumpets that it's free of sugar, calories, preservatives, artificial sweeteners, and sodium, instead opting for naturally-extracted fruit oils. (I realize this reads as if LaCroix is paying me to write this. Alas, I haven't received any coins from them, but if they wanted to turn my life into \u003ca href=\"http://38.media.tumblr.com/7efaec1fd3c51d4b94167fa26301c778/tumblr_nqufrpfQOI1rbl71oo2_540.gif\">this Beyoncé gif\u003c/a>, I'm down.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix.gif\">\u003cimg class=\"aligncenter size-full wp-image-95157\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix.gif\" alt=\"\" width=\"1000\" height=\"667\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Who were the LaCroix pioneers?\u003c/strong>\u003c/p>\n\u003cp>At first, the National Beverage Corp. marketed LaCroix to health-conscious women (data showed that men were mostly out-of-reach due to their preference for energy drinks). But, as distribution to all kinds of stores grew -- from co-ops and Wal-Marts to office supply stores -- more and more shoppers started picking it up — people on a diet, people trying to kick sugary colas or booze, people looking for a way to jazz up really old opened wine they forgot about in the fridge (this may or may not be about me), what have you.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Why has LaCroix become such a thing?\u003c/strong>\u003c/p>\n\u003cp>One major reason for the LaCroix boom is our culture's move toward better nutrition and embracing health-conscious lifestyles. Full-calorie soda sales (think Coke, the \u003ca href=\"http://assets.change.org/photos/4/na/tb/vjnATBTbGTesGYj-1600x900-noPad.jpg?1423799050\">dearly departed Surge\u003c/a>, or whatever \u003ca href=\"https://az616578.vo.msecnd.net/files/2015/05/09/635667417656929323854019419_tumblr_mbaqjt4SrA1r71uie.gif\">\"go-go juice\"\u003c/a> pageant moms give their children) have dropped more than 25% over the last 20 years. The average person in 1988 drank less than four gallons of bottled water per year. By 2015, that number shot to 37 gallons per year. Pee: now clearer and less stinky!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-95154\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-1020x672.png\" alt=\"\" width=\"640\" height=\"422\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-1020x672.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-960x633.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-240x158.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-375x247.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-520x343.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM.png 1129w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>The wide array of flavors -- 20 in all, way up from only four in 2004 -- also contribute to the brand's success, because a) there's something for everyone, b) most of them taste good, c) it's much harder for consumers to get bored with the product, and d) there's a collect-them-all aspect to finding and tasting all the varieties.\u003c/p>\n\u003cp>Ironically, LaCroix also benefitted from coming out of a little-known parent company without much advertising muscle behind it. According to \u003cem>Forbes\u003c/em>, National Beverage has \u003ca href=\"https://www.forbes.com/companies/national-beverage/\">1,200 employees\u003c/a> total, versus \u003ca href=\"https://www.forbes.com/companies/pepsico/\">Pepsi's 264,000\u003c/a>. The less-corporate, more-underground feel spoke to people, specifically hipsters who value the idea of authenticity.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix-02.gif\">\u003cimg class=\"aligncenter size-full wp-image-95170\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix-02.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>LaCroix has also become somewhat of a status symbol, like SoulCycle or LuluLemon leggings. For some, it's less about enjoying the product and more about being a part of the movement and presenting an idealized cool version of yourself to the world (hydration becomes merely a side effect). LaCroix's Instagram contributes to this social performance by reposting flawless photos of peace-sign-waving, LaCroix-guzzling hipsters. Posting a picture of yourself drinking water isn't something most people would think to do, but add the potential promise of being a teeny tiny bit famous for a half day, and -- bam! -- an avalanche of LaCroix selfies, further spreading this idea of LaCroix being a signifier of \"cool.\"\u003c/p>\n\u003cp>In a nutshell, the LaCroix craze is partly about the product -- it's healthy, it's cheap, it's easily available, it actually tastes good -- and partly about the social mythology that's been built around that product -- it looks cute and nostalgic, it feels cooler than overexposed big brands, it makes people feel hip. Whatever your opinion on LaCroix, you have to give the brand credit for achieving the impossible: making water popular. Next up: broccoli!\u003c/p>\n\u003cp>\u003cem>Hear more about what's behind our obsession with LaCroix (and mercury in retrograde) on this episode of KQED's weekly pop culture podcast, \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/09/LaCroixx.mp3\" title=\"Why Is Everyone So Obsessed with LaCroix and Mercury in Retrograde?\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>None of us drink enough water. Or at least that used to be true. In the last few years, a sparkling water brand called LaCroix has gained popularity, reaching fever pitch last summer as devotees wore \u003ca href=\"https://static1.squarespace.com/static/56aa8c8b8b38d4b84cb93b70/56b7ca4f3c44d80d095f1f40/56b91381e707ebc576b886e2/1454969740939/Mikaela+Hamilton-+La+Croix+-48.jpg?format=2500w\">LaCroixs Over Boys t-shirts\u003c/a>; posed with their water \u003ca href=\"https://www.instagram.com/explore/tags/livelacroix/\">cans on Instagram\u003c/a>; flocked to see \u003ca href=\"https://broadly.vice.com/en_us/article/zmbeva/portraits-of-brooklynites-flocking-to-massive-la-croix-wall-in-new-whole-foods\">a fully-stocked wall \u003c/a>of the stuff at the new Williamsburg Whole Foods; created their own can designs and flavors like \"Male Tears\" on \u003ca href=\"http://mylacroix.com/\">mylacroix.com\u003c/a>; crafted signature LaCroix cocktails like the \u003ca href=\"http://gizmodo.com/9-cocktails-made-with-lacroix-a-sparkling-water-with-a-1718567132\">Pina Croixlada\u003c/a>; sold \u003ca href=\"https://www.etsy.com/listing/478686595/tangerine-la-croix-love?ref=market\">needlepoint art\u003c/a>, \u003ca href=\"https://www.etsy.com/listing/494189549/neon-la-croix-enamel-pin?ref=market\">enamel pins\u003c/a>, and \u003ca href=\"https://static1.squarespace.com/static/57a22b50ebbd1adfd69910ec/t/58054f7febbd1a1a00cada09/1476743046529/?format=300w\">watercolors\u003c/a> of the cans with \"Can't Stop, Won't Stop\" written underneath; and even penned rap songs about how great it feels to be \u003ca href=\"https://www.youtube.com/watch?v=l-d0N6uahCw\" target=\"_blank\" rel=\"noopener noreferrer\">sippin' on LaCroix\u003c/a>.\u003c/p>\n\u003cp>This last example, by LaCroix fanatic RAKEEM, includes lyrics like \"I know it's only carbonated water; sometimes I wish I was Beyoncé's daughter\" and \"When you're sippin' on LaCroix, you know it brings you joy.\"\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/l-d0N6uahCw'\n title='//www.youtube.com/embed/l-d0N6uahCw'\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>So what's the deal here? Why are so many obsessed with water, of all things? Where did this brand come from? How do you pronounce it? I did some digging and found the answers to these questions and more.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>How do you pronounce it?\u003c/strong>\u003c/p>\n\u003cp>First things first, how does one accurately pronounce the name? Based on the brand name's spelling, the inclination is to pronounce it the French way. For those who didn't randomly get a French minor in college like me, I'll use it in a sentence: \u003cem>Let them drink La-kwa!\u003c/em> But the water doesn't come from a babbling brook in Provence. The water actually comes from... Wisconsin, and takes its name from that state's St. Croix River. And because Americans are heathens, it's pronounced \u003cem>La-croy\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Where and when was the brand created?\u003c/strong>\u003c/p>\n\u003cp>The brand got its start in a family-owned Wisconsin brewery back in 1981. It stayed local for many years, before being acquired by the National Beverage Corporation in the mid '90s. CEO Nick A. Caporella's strategy for making LaCroix a hit on a national scale? Redesigning the can with a retro, bright-colored look that's reminiscent of those \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/68/4b/50/684b501a371737acfca0832fe3753c8d.jpg\">paper dentist-office cups\u003c/a> from the '80s. Quite the gamble, considering that the sight could trigger horrific memories of suction tubes and molar drills, but the new look was a hit.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>What sets it apart from other carbonated drinks?\u003c/strong>\u003c/p>\n\u003cp>Eye-catching aesthetic aside, it's also what's inside the can that people love so much. In contrast to other brands that purport to be full of vitamins, but are mostly sugar, LaCroix loudly trumpets that it's free of sugar, calories, preservatives, artificial sweeteners, and sodium, instead opting for naturally-extracted fruit oils. (I realize this reads as if LaCroix is paying me to write this. Alas, I haven't received any coins from them, but if they wanted to turn my life into \u003ca href=\"http://38.media.tumblr.com/7efaec1fd3c51d4b94167fa26301c778/tumblr_nqufrpfQOI1rbl71oo2_540.gif\">this Beyoncé gif\u003c/a>, I'm down.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix.gif\">\u003cimg class=\"aligncenter size-full wp-image-95157\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix.gif\" alt=\"\" width=\"1000\" height=\"667\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Who were the LaCroix pioneers?\u003c/strong>\u003c/p>\n\u003cp>At first, the National Beverage Corp. marketed LaCroix to health-conscious women (data showed that men were mostly out-of-reach due to their preference for energy drinks). But, as distribution to all kinds of stores grew -- from co-ops and Wal-Marts to office supply stores -- more and more shoppers started picking it up — people on a diet, people trying to kick sugary colas or booze, people looking for a way to jazz up really old opened wine they forgot about in the fridge (this may or may not be about me), what have you.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Why has LaCroix become such a thing?\u003c/strong>\u003c/p>\n\u003cp>One major reason for the LaCroix boom is our culture's move toward better nutrition and embracing health-conscious lifestyles. Full-calorie soda sales (think Coke, the \u003ca href=\"http://assets.change.org/photos/4/na/tb/vjnATBTbGTesGYj-1600x900-noPad.jpg?1423799050\">dearly departed Surge\u003c/a>, or whatever \u003ca href=\"https://az616578.vo.msecnd.net/files/2015/05/09/635667417656929323854019419_tumblr_mbaqjt4SrA1r71uie.gif\">\"go-go juice\"\u003c/a> pageant moms give their children) have dropped more than 25% over the last 20 years. The average person in 1988 drank less than four gallons of bottled water per year. By 2015, that number shot to 37 gallons per year. Pee: now clearer and less stinky!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM.png\">\u003cimg class=\"aligncenter size-large wp-image-95154\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-1020x672.png\" alt=\"\" width=\"640\" height=\"422\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-1020x672.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-800x527.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-768x506.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-960x633.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-240x158.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-375x247.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM-520x343.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-01-at-4.43.36-PM.png 1129w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>The wide array of flavors -- 20 in all, way up from only four in 2004 -- also contribute to the brand's success, because a) there's something for everyone, b) most of them taste good, c) it's much harder for consumers to get bored with the product, and d) there's a collect-them-all aspect to finding and tasting all the varieties.\u003c/p>\n\u003cp>Ironically, LaCroix also benefitted from coming out of a little-known parent company without much advertising muscle behind it. According to \u003cem>Forbes\u003c/em>, National Beverage has \u003ca href=\"https://www.forbes.com/companies/national-beverage/\">1,200 employees\u003c/a> total, versus \u003ca href=\"https://www.forbes.com/companies/pepsico/\">Pepsi's 264,000\u003c/a>. The less-corporate, more-underground feel spoke to people, specifically hipsters who value the idea of authenticity.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix-02.gif\">\u003cimg class=\"aligncenter size-full wp-image-95170\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/lacroix-02.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>LaCroix has also become somewhat of a status symbol, like SoulCycle or LuluLemon leggings. For some, it's less about enjoying the product and more about being a part of the movement and presenting an idealized cool version of yourself to the world (hydration becomes merely a side effect). LaCroix's Instagram contributes to this social performance by reposting flawless photos of peace-sign-waving, LaCroix-guzzling hipsters. Posting a picture of yourself drinking water isn't something most people would think to do, but add the potential promise of being a teeny tiny bit famous for a half day, and -- bam! -- an avalanche of LaCroix selfies, further spreading this idea of LaCroix being a signifier of \"cool.\"\u003c/p>\n\u003cp>In a nutshell, the LaCroix craze is partly about the product -- it's healthy, it's cheap, it's easily available, it actually tastes good -- and partly about the social mythology that's been built around that product -- it looks cute and nostalgic, it feels cooler than overexposed big brands, it makes people feel hip. Whatever your opinion on LaCroix, you have to give the brand credit for achieving the impossible: making water popular. Next up: broccoli!\u003c/p>\n\u003cp>\u003cem>Hear more about what's behind our obsession with LaCroix (and mercury in retrograde) on this episode of KQED's weekly pop culture podcast, \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Superstar DJs might be a relatively new phenomenon, but they are some of the biggest money-makers in music. Last year, according to \u003ca href=\"https://www.forbes.com/pictures/hekj45eli/2-tisto-38-million/#30d1e97f6e37\">Forbes\u003c/a>, Calvin Harris made $63 million, Tiësto made $38 million, and Diplo made $23 million. These incredibly rich musicians (technicians?) live unbelievably lavish, globe-trotting lifestyles, while managing to stay relatively anonymous -- a luxury not afforded to pop or movie stars. It is undoubtedly enviable, but can sometimes be an irritating sight for us regular folk.\u003c/p>\n\u003cp>Turns out that Diplo surprisingly knows that. Which is where Viceland's new series, \u003ca href=\"https://www.viceland.com/en_us/show/what-would-diplo-do\">\u003cem>What Would Diplo Do?\u003c/em>\u003c/a>, comes in. The Major Lazer producer has signed off and consulted on the show, which sees -- in a stroke of comedic genius -- James Van Der Beek playing an extremely smug and hatable version of the real-life Diplo. The \u003ca href=\"https://www.viceland.com/en_us/video/what-would-diplo-do-trailer/594bff90b46f67a518f0b68c\">trailers\u003c/a> are in and this little slice of post-modern brilliance looks legitimately funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SP_E-OnnV9s\u003c/p>\n\u003cp>The series only came into being, thanks to a hilarious short video Van Der Beek shot for Diplo, as part of the promotional campaign for the DJ's \u003ca href=\"http://www.maddecentblockparty.com/\">Mad Decent Block Party\u003c/a> tour last summer. If the series is even half as good as this, Viceland is bound to have a winner on its hands:\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=149&v=SoAIzki2jOI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement to \u003ca href=\"http://www.rollingstone.com/tv/features/inside-what-would-diplo-do-how-the-tv-comedy-nails-edms-bro-culture-w495101\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, Diplo said of the new series: \"This is a sort of social commentary on the social media and the EDM age… I view it as sacrificing myself to poke fun at DJ/EDM culture as a whole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>What Would Diplo Do?\u003c/em> premiers August 3. 2017.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Superstar DJs might be a relatively new phenomenon, but they are some of the biggest money-makers in music. Last year, according to \u003ca href=\"https://www.forbes.com/pictures/hekj45eli/2-tisto-38-million/#30d1e97f6e37\">Forbes\u003c/a>, Calvin Harris made $63 million, Tiësto made $38 million, and Diplo made $23 million. These incredibly rich musicians (technicians?) live unbelievably lavish, globe-trotting lifestyles, while managing to stay relatively anonymous -- a luxury not afforded to pop or movie stars. It is undoubtedly enviable, but can sometimes be an irritating sight for us regular folk.\u003c/p>\n\u003cp>Turns out that Diplo surprisingly knows that. Which is where Viceland's new series, \u003ca href=\"https://www.viceland.com/en_us/show/what-would-diplo-do\">\u003cem>What Would Diplo Do?\u003c/em>\u003c/a>, comes in. The Major Lazer producer has signed off and consulted on the show, which sees -- in a stroke of comedic genius -- James Van Der Beek playing an extremely smug and hatable version of the real-life Diplo. The \u003ca href=\"https://www.viceland.com/en_us/video/what-would-diplo-do-trailer/594bff90b46f67a518f0b68c\">trailers\u003c/a> are in and this little slice of post-modern brilliance looks legitimately funny.\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/SP_E-OnnV9s'\n title='//www.youtube.com/embed/SP_E-OnnV9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series only came into being, thanks to a hilarious short video Van Der Beek shot for Diplo, as part of the promotional campaign for the DJ's \u003ca href=\"http://www.maddecentblockparty.com/\">Mad Decent Block Party\u003c/a> tour last summer. If the series is even half as good as this, Viceland is bound to have a winner on its hands:\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/SoAIzki2jOI'\n title='//www.youtube.com/embed/SoAIzki2jOI'\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>In a statement to \u003ca href=\"http://www.rollingstone.com/tv/features/inside-what-would-diplo-do-how-the-tv-comedy-nails-edms-bro-culture-w495101\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, Diplo said of the new series: \"This is a sort of social commentary on the social media and the EDM age… I view it as sacrificing myself to poke fun at DJ/EDM culture as a whole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>What Would Diplo Do?\u003c/em> premiers August 3. 2017.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Product Placement in Music Videos is So Out of Hand, We Don't Know What's Real Anymore",
"title": "Product Placement in Music Videos is So Out of Hand, We Don't Know What's Real Anymore",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>In the post-album-buying age, artists have to make money in new and ever-expanding ways. In the '90s, back when people actually bought albums on the regular, going to a concert rarely cost more than $50, and T-shirts at the show were usually $10-$15. These days, as artists try to make up revenue they no longer get from record sales, concert tickets have skyrocketed in price, and merch can be positively extortionate. But there's another weird side effect that has changed the face of music.\u003c/p>\n\u003cp>It started in 2008 with an aggressive marketing strategy by Beats by Dre. Recent HBO documentary series, \u003ca href=\"https://www.youtube.com/watch?v=qT5FeylUWO0\">\u003cem>The Defiant Ones\u003c/em>\u003c/a>, talks openly about the fact that Dr. Dre's business partner, \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Iovine\">Jimmy Iovine\u003c/a>, pushed the headphones on every single famous person he came into contact with -- be they athletes, actors, or musicians -- in order to market them to the public. That year, Beats by Dre headphones showed up in music videos by Lady Gaga, Ludacris, Pussycat Dolls, The Game, Snoop Dogg, Solange, Busta Rhymes & Linkin Park, Keri Hilson, and too many others to mention.\u003c/p>\n\u003cp>Not only was there nothing subtle about any of Beats by Dre's marketing, it opened the floodgates. By 2012, Swedish House Mafia's \"Greyhound\" video transformed into an Absolut Vodka commercial, Ellie Goulding's \"How Long Will I Love You\" was one long, excruciating Nokia endorsement, and No Doubt's \"Settle Down\" was a thinly veiled ad for Ice watches. The following year, Avicii's \"Wake Me Up\" video was basically a Ralph Lauren brochure, and Jennifer Lopez and Pitbull demonstrated what great multi-taskers they were by advertising Nokia phones, Swarovski jewelry, Beluga vodka, and Ice watches all in the space of one video (\"Live it Up\" should probably be renamed \"Buy More Stuff\").\u003c/p>\n\u003cp>It was the arrival of the Beats Pill speaker though, that took music-videos-as-commercials to the next level. The prior marketing of Beats by Dre headphones looked positively subtle by comparison. Between 2013 and 2015, it was hard to find a music video that didn't spend an annoyingly long time lingering on a Beats Pill. Ariana Grande, Nicki Minaj, Chris Brown, Robin Thicke, TI and Pharrell, Coldplay, Jessie J, Ty Dolla $ign, Lily Allen, and more prominently featured the product in their videos. In the \"We Can't Stop\" video, we see the pill before we even see Miley Cyrus's face, and in Britney Spears' \"Work Bitch,\" the pill is even used as a ball gag.\u003c/p>\n\u003cfigure id=\"attachment_94029\" class=\"wp-caption aligncenter\" style=\"max-width: 659px\">\u003cimg class=\"size-full wp-image-94029\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM.png\" alt=\"\" width=\"659\" height=\"367\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM.png 659w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-375x209.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-520x290.png 520w\" sizes=\"(max-width: 659px) 100vw, 659px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears, \"Work Bitch\"\u003c/figcaption>\u003c/figure>\n\u003cp>Post-Beats Pill, all bets are off; some artists are shilling a wide variety of products (and now services!) in their music videos in a manner that can only be described as shameless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Demi Lovato's latest, \"Sorry Not Sorry,\" is the pinnacle of awfulness when it comes to product placement because it starts with the promise of realness (\"On June 29th, Demi threw a house party and we made a music video\"). The video then works its way through endorsements for Jaguar cars, JBL headphones, and speakers, and ends in a super prominent endorsement for Lyft. Despite Lovato's still-thriving career, there is an element of it all that smacks of desperation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-MsvER1dpjM\u003c/p>\n\u003cp>Contrast this with Justin Bieber's pool party video for 2012's \"Beauty and a Beat.\" It's a stark contrast of what a difference no endorsements make. Bieber uses technology throughout the clip and never once advertises anything. It is, as a result, a far superior music video.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ys7-6_t7OEQ\u003c/p>\n\u003cp>The lines are now so blurred when it comes to music promotion and product placement that artists have now started to play with our general sense of confusion. With the release of their new album, \u003cem>Everything Now\u003c/em>, Arcade Fire has been indulging in some post-modern mockery of the current sell-sell-sell musical landscape. In June, its Twitter threw up an ad for USB fidget spinners:\u003c/p>\n\u003cp>https://twitter.com/arcadefire/status/878299800420048897?lang=en\u003c/p>\n\u003cp>Thanks to how accustomed music fans have become to getting sold nonsense, the fidget spinner ad thoroughly confused a lot of people.\u003c/p>\n\u003cp>https://twitter.com/HulseCallum/status/880817216974979073\u003c/p>\n\u003cp>It's a stunning indictment of the times we live in that it's impossible to know for sure whether or not a band is genuinely trying to sell us something.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the internet age, marketing has become a stealth, around-the-clock endeavor, and it stands to reason that a less lucrative music industry would join forces with corporate entities for extra funds. A major problem arises, however, when the product placement overshadows the music. If the current trends continue, it's going to become ever more difficult to engage with music visuals at all without a sense of cynicism creeping in. Surely that should be more important to artists than collecting money from a ride sharing app or speaker company.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the post-album-buying age, artists have to make money in new and ever-expanding ways. In the '90s, back when people actually bought albums on the regular, going to a concert rarely cost more than $50, and T-shirts at the show were usually $10-$15. These days, as artists try to make up revenue they no longer get from record sales, concert tickets have skyrocketed in price, and merch can be positively extortionate. But there's another weird side effect that has changed the face of music.\u003c/p>\n\u003cp>It started in 2008 with an aggressive marketing strategy by Beats by Dre. Recent HBO documentary series, \u003ca href=\"https://www.youtube.com/watch?v=qT5FeylUWO0\">\u003cem>The Defiant Ones\u003c/em>\u003c/a>, talks openly about the fact that Dr. Dre's business partner, \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Iovine\">Jimmy Iovine\u003c/a>, pushed the headphones on every single famous person he came into contact with -- be they athletes, actors, or musicians -- in order to market them to the public. That year, Beats by Dre headphones showed up in music videos by Lady Gaga, Ludacris, Pussycat Dolls, The Game, Snoop Dogg, Solange, Busta Rhymes & Linkin Park, Keri Hilson, and too many others to mention.\u003c/p>\n\u003cp>Not only was there nothing subtle about any of Beats by Dre's marketing, it opened the floodgates. By 2012, Swedish House Mafia's \"Greyhound\" video transformed into an Absolut Vodka commercial, Ellie Goulding's \"How Long Will I Love You\" was one long, excruciating Nokia endorsement, and No Doubt's \"Settle Down\" was a thinly veiled ad for Ice watches. The following year, Avicii's \"Wake Me Up\" video was basically a Ralph Lauren brochure, and Jennifer Lopez and Pitbull demonstrated what great multi-taskers they were by advertising Nokia phones, Swarovski jewelry, Beluga vodka, and Ice watches all in the space of one video (\"Live it Up\" should probably be renamed \"Buy More Stuff\").\u003c/p>\n\u003cp>It was the arrival of the Beats Pill speaker though, that took music-videos-as-commercials to the next level. The prior marketing of Beats by Dre headphones looked positively subtle by comparison. Between 2013 and 2015, it was hard to find a music video that didn't spend an annoyingly long time lingering on a Beats Pill. Ariana Grande, Nicki Minaj, Chris Brown, Robin Thicke, TI and Pharrell, Coldplay, Jessie J, Ty Dolla $ign, Lily Allen, and more prominently featured the product in their videos. In the \"We Can't Stop\" video, we see the pill before we even see Miley Cyrus's face, and in Britney Spears' \"Work Bitch,\" the pill is even used as a ball gag.\u003c/p>\n\u003cfigure id=\"attachment_94029\" class=\"wp-caption aligncenter\" style=\"max-width: 659px\">\u003cimg class=\"size-full wp-image-94029\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM.png\" alt=\"\" width=\"659\" height=\"367\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM.png 659w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-160x89.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-240x134.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-375x209.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-1.02.47-PM-520x290.png 520w\" sizes=\"(max-width: 659px) 100vw, 659px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears, \"Work Bitch\"\u003c/figcaption>\u003c/figure>\n\u003cp>Post-Beats Pill, all bets are off; some artists are shilling a wide variety of products (and now services!) in their music videos in a manner that can only be described as shameless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Demi Lovato's latest, \"Sorry Not Sorry,\" is the pinnacle of awfulness when it comes to product placement because it starts with the promise of realness (\"On June 29th, Demi threw a house party and we made a music video\"). The video then works its way through endorsements for Jaguar cars, JBL headphones, and speakers, and ends in a super prominent endorsement for Lyft. Despite Lovato's still-thriving career, there is an element of it all that smacks of desperation.\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/-MsvER1dpjM'\n title='//www.youtube.com/embed/-MsvER1dpjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Contrast this with Justin Bieber's pool party video for 2012's \"Beauty and a Beat.\" It's a stark contrast of what a difference no endorsements make. Bieber uses technology throughout the clip and never once advertises anything. It is, as a result, a far superior music video.\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/Ys7-6_t7OEQ'\n title='//www.youtube.com/embed/Ys7-6_t7OEQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lines are now so blurred when it comes to music promotion and product placement that artists have now started to play with our general sense of confusion. With the release of their new album, \u003cem>Everything Now\u003c/em>, Arcade Fire has been indulging in some post-modern mockery of the current sell-sell-sell musical landscape. In June, its Twitter threw up an ad for USB fidget spinners:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It's a stunning indictment of the times we live in that it's impossible to know for sure whether or not a band is genuinely trying to sell us something.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the internet age, marketing has become a stealth, around-the-clock endeavor, and it stands to reason that a less lucrative music industry would join forces with corporate entities for extra funds. A major problem arises, however, when the product placement overshadows the music. If the current trends continue, it's going to become ever more difficult to engage with music visuals at all without a sense of cynicism creeping in. Surely that should be more important to artists than collecting money from a ride sharing app or speaker company.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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