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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": "\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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"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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"content": "\u003cp>Comedians have vastly different styles and sensibilities. Nowhere is this more apparent than at Montreal's annual \u003ca href=\"http://www.hahaha.com/en/montreal-festival\">Just For Laughs\u003c/a> comedy festival, where one minute you're riding a speedboat of brainy one-liners from \u003ca href=\"http://www.imdb.com/name/nm0000632/\">Jerry Seinfeld\u003c/a>; the next, you're floating along with the intoxicating tales of \u003ca href=\"http://www.ronfunches.com/\">Ron Funches\u003c/a>.\u003c/p>\n\u003cp>Comedians are just as varied in their decisions of whether to talk politics on stage.\u003c/p>\n\u003cp>For professional jokesters, President Trump is either gold to mine or a grenade to avoid. Sometimes he's both. With impersonations by Alec Baldwin, Kate McKinnon and Melissa McCarthy, \u003cem>Saturday Night Live\u003c/em> has turned the Trump administration into bona fide comedy canon. \u003cem>The Late Show\u003c/em>'s Stephen Colbert delights in poking fun at the powerful, like the time he asked\u003ca href=\"http://www.cbs.com/shows/the-late-show-with-stephen-colbert/video/9jQu1_5deNfLcXNT6Eh7KHu7URZ6iYFj/andy-serkis-becomes-gollum-to-read-trump-s-tweets/\"> Andy Serkis\u003c/a> to read Mr. Trump's tweets in the voice of Gollum from the \u003cem>Lord of The Rings\u003c/em> movies. More brazenly, Viceland's Desus and Mero\u003ca href=\"https://www.youtube.com/watch?v=S0JdOvgVkWg\"> lacerate\u003c/a> White House staffers as they watch them in video interviews or speeches.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UWuc18xISwI\u003c/p>\n\u003cp>The philosophy at comedy video website \u003ca href=\"http://www.funnyordie.com/\">Funny Or Die\u003c/a>: tackle it head on. \"I think comedy is at its best when it's addressing power and powerful institutions,\" says CEO Mike Farah. \"Right now we have an individual who is representing an institution in ways that lots of people disagree with. And if we can use comedy to attack that power, and to make funny and smart observations about the world and the hypocrisy we're living in ... I think it's our responsibility.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among Funny Or Die's Trump-related material, comedians Josh Sharp and Aaron Jackson do a spoof called\u003ca href=\"http://www.funnyordie.com/videos/ec8412d8a3/jared-kushner-and-ivanka-trump-are-expecting-the-chinese-for-dinner\"> Jared & Ivanka\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_94922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-94922\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425.jpg 1088w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Sharp and Aaron Jackson embrace the comedy of the Trump family in Funny or Die's Jared & Ivanka.\u003cbr>Funny or Die via (YouTube/Screenshot by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Other comedians aren't sure they want to plumb the depths of the current administration. Dave Chappelle told \u003cem>\u003ca href=\"https://www.nytimes.com/2017/03/17/arts/television/dave-chappelle-on-trump-cosby-and-his-netflix-deal.html?_r=0\">The New York Times\u003c/a>\u003c/em> he thought it was hard for comedians to find an \"angle that sounds fresh.\" More recently, as a guest on the NPR podcast\u003cem>\u003ca href=\"http://www.npr.org/podcasts/510323/whats-good-with-stretch-and-bobbito\"> What's Good with Stretch and Bobbito\u003c/a>\u003c/em>, Chappelle marveled at Mr. Trump's impact.\u003c/p>\n\u003cp>\"I can't remember anybody permeating the American psyche this completely,\" he said. \"Everyone's always talking about this guy, speculating about this guy. He's a noisy, noisy president.\"\u003c/p>\n\u003cp>Former \u003cem>SNL\u003c/em> cast member Sasheer Zamata confronts social issues in her stand-up, but her point of departure is usually personal. Stories about working at Disney World or being in an interracial couple are both specific to her but indirectly confront some harsh truths about current events. While she doesn't consider herself a political comedian, she couldn't avoid Donald Trump when she filmed her comedy special\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=i0RBaS57zPw\"> Pizza Mind\u003c/a> \u003c/em>in New Orleans last December. \"I only have one joke in there. He gets enough press,\" says Zamata pointedly.\u003c/p>\n\u003cp>Laid-back Ron Funches avoids material that's heavily political altogether.\u003c/p>\n\u003cp>\"That's not comedy. That's a rally,\" he says. Funches prefers to keep his material \"sharp\" but \"positive.\" He says he has more fun telling jokes about things he likes. \"Video games. Pot. Butts.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Funches does have an\u003ca href=\"http://teamcoco.com/video/ron-funches-new-cartoon-inspired-by-trump?playlist=x;eyJ0b3RhbCI6MTAsInR5cGUiOiJyZWxhdGVkIiwiaWQiOjk4NDk3fQ\"> idea\u003c/a> for a new show. As a serious fan of WWE, he says he wants to do \"a wrestling cartoon where one of the wrestlers is also the president of the United States,\" Funches says with a sly smile. \"I don't know if it's an allegory for anything going on in the United States. But it could be.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Trump+Can+Be+Comedy+Gold%2C+But+Not+All+Comedians+Are+Mining&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedians have vastly different styles and sensibilities. Nowhere is this more apparent than at Montreal's annual \u003ca href=\"http://www.hahaha.com/en/montreal-festival\">Just For Laughs\u003c/a> comedy festival, where one minute you're riding a speedboat of brainy one-liners from \u003ca href=\"http://www.imdb.com/name/nm0000632/\">Jerry Seinfeld\u003c/a>; the next, you're floating along with the intoxicating tales of \u003ca href=\"http://www.ronfunches.com/\">Ron Funches\u003c/a>.\u003c/p>\n\u003cp>Comedians are just as varied in their decisions of whether to talk politics on stage.\u003c/p>\n\u003cp>For professional jokesters, President Trump is either gold to mine or a grenade to avoid. Sometimes he's both. With impersonations by Alec Baldwin, Kate McKinnon and Melissa McCarthy, \u003cem>Saturday Night Live\u003c/em> has turned the Trump administration into bona fide comedy canon. \u003cem>The Late Show\u003c/em>'s Stephen Colbert delights in poking fun at the powerful, like the time he asked\u003ca href=\"http://www.cbs.com/shows/the-late-show-with-stephen-colbert/video/9jQu1_5deNfLcXNT6Eh7KHu7URZ6iYFj/andy-serkis-becomes-gollum-to-read-trump-s-tweets/\"> Andy Serkis\u003c/a> to read Mr. Trump's tweets in the voice of Gollum from the \u003cem>Lord of The Rings\u003c/em> movies. More brazenly, Viceland's Desus and Mero\u003ca href=\"https://www.youtube.com/watch?v=S0JdOvgVkWg\"> lacerate\u003c/a> White House staffers as they watch them in video interviews or speeches.\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/UWuc18xISwI'\n title='//www.youtube.com/embed/UWuc18xISwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The philosophy at comedy video website \u003ca href=\"http://www.funnyordie.com/\">Funny Or Die\u003c/a>: tackle it head on. \"I think comedy is at its best when it's addressing power and powerful institutions,\" says CEO Mike Farah. \"Right now we have an individual who is representing an institution in ways that lots of people disagree with. And if we can use comedy to attack that power, and to make funny and smart observations about the world and the hypocrisy we're living in ... I think it's our responsibility.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among Funny Or Die's Trump-related material, comedians Josh Sharp and Aaron Jackson do a spoof called\u003ca href=\"http://www.funnyordie.com/videos/ec8412d8a3/jared-kushner-and-ivanka-trump-are-expecting-the-chinese-for-dinner\"> Jared & Ivanka\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_94922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-94922\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/jaredandivanka_wide-5bc7294e007506b65d1bddde93b7229ac235c425.jpg 1088w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Sharp and Aaron Jackson embrace the comedy of the Trump family in Funny or Die's Jared & Ivanka.\u003cbr>Funny or Die via (YouTube/Screenshot by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Other comedians aren't sure they want to plumb the depths of the current administration. Dave Chappelle told \u003cem>\u003ca href=\"https://www.nytimes.com/2017/03/17/arts/television/dave-chappelle-on-trump-cosby-and-his-netflix-deal.html?_r=0\">The New York Times\u003c/a>\u003c/em> he thought it was hard for comedians to find an \"angle that sounds fresh.\" More recently, as a guest on the NPR podcast\u003cem>\u003ca href=\"http://www.npr.org/podcasts/510323/whats-good-with-stretch-and-bobbito\"> What's Good with Stretch and Bobbito\u003c/a>\u003c/em>, Chappelle marveled at Mr. Trump's impact.\u003c/p>\n\u003cp>\"I can't remember anybody permeating the American psyche this completely,\" he said. \"Everyone's always talking about this guy, speculating about this guy. He's a noisy, noisy president.\"\u003c/p>\n\u003cp>Former \u003cem>SNL\u003c/em> cast member Sasheer Zamata confronts social issues in her stand-up, but her point of departure is usually personal. Stories about working at Disney World or being in an interracial couple are both specific to her but indirectly confront some harsh truths about current events. While she doesn't consider herself a political comedian, she couldn't avoid Donald Trump when she filmed her comedy special\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=i0RBaS57zPw\"> Pizza Mind\u003c/a> \u003c/em>in New Orleans last December. \"I only have one joke in there. He gets enough press,\" says Zamata pointedly.\u003c/p>\n\u003cp>Laid-back Ron Funches avoids material that's heavily political altogether.\u003c/p>\n\u003cp>\"That's not comedy. That's a rally,\" he says. Funches prefers to keep his material \"sharp\" but \"positive.\" He says he has more fun telling jokes about things he likes. \"Video games. Pot. Butts.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Funches does have an\u003ca href=\"http://teamcoco.com/video/ron-funches-new-cartoon-inspired-by-trump?playlist=x;eyJ0b3RhbCI6MTAsInR5cGUiOiJyZWxhdGVkIiwiaWQiOjk4NDk3fQ\"> idea\u003c/a> for a new show. As a serious fan of WWE, he says he wants to do \"a wrestling cartoon where one of the wrestlers is also the president of the United States,\" Funches says with a sly smile. \"I don't know if it's an allegory for anything going on in the United States. But it could be.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Trump+Can+Be+Comedy+Gold%2C+But+Not+All+Comedians+Are+Mining&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Illuminati, Satan, and Numerology: Conspiracy Theories about Jay-Z's '4:44' Are Everywhere",
"title": "The Illuminati, Satan, and Numerology: Conspiracy Theories about Jay-Z's '4:44' Are Everywhere",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's been just over a month since Jay-Z's \u003cem>4:44\u003c/em> album landed. Special attention has been paid across the board to the title track, thanks to the fact that it's a painfully raw apology to Beyoncé for basically everything we heard about on \u003cem>Lemonade\u003c/em>. Pay close attention to the lyrics if you want an unflinching look at the weight that comes with deep remorse, regret, and guilt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSkA61esq_c\u003c/p>\n\u003cp>Jay told \u003cem>\u003ca href=\"http://www.xxlmag.com/news/2017/06/jay-z-breaks-down-meaning-songs-444-album/\" target=\"_blank\" rel=\"noopener noreferrer\">XXL\u003c/a>\u003c/em> that the track is \"the crux of the album, just right in the middle of the album. And I woke up, literally, at 4:44 in the morning, 4:44 AM, to write this song. So it became the title of the album and everything. It’s the title track because it’s such a powerful song, and I just believe one of the best songs I’ve ever written.” [aside postid='pop_104326']\u003c/p>\n\u003cp>So that's that, right? We've got the song, an amazing video, a response to \u003cem>Lemonade,\u003c/em> and an explanation about the title. Done! The End. Only not, because in the age of the internet, this just \u003cem>has\u003c/em> to be about a bunch of other stuff too.\u003c/p>\n\u003cp>Before the album was even released, Twitter was already throwing out theories. On June 6, 2017, \u003ca href=\"https://twitter.com/geespin\" target=\"_blank\" rel=\"noopener noreferrer\">@Geespin\u003c/a> \u003ca href=\"https://twitter.com/geespin/status/872199299349835776\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a>: \"JOHN 4:44 — 'For Jesus himself had testified that a prophet has no honor in his own hometown.' ....read what you may into that.\" The following day, another user, \u003ca href=\"https://twitter.com/JerrelXL\" target=\"_blank\" rel=\"noopener noreferrer\">@JerrelXL\u003c/a>, \u003ca href=\"https://twitter.com/JerrelXL/status/872470378550927360\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a>: \"What if 4:44 is also an homage to Jay's good friend and the greatest president of our lifetime Barack Obama?\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the album's release, one of the first groups to jump in with some extra analysis were numerologists. You can't blame them really. According to \u003ca href=\"http://www.spiritual-path.com/numerology.htm\" target=\"_blank\" rel=\"noopener noreferrer\">SpiritualPath.com\u003c/a>, seeing the number sequence 444 or 4444 repeatedly is a \"Cosmic 'No!'\" that \"indicates a 'No' to absolutely anything\" the person is thinking about at their time of seeing it. (Imagine using number sequences to make decisions every single day, then having one of the biggest artists in the world name his album after the sequence that means \"No.\")\u003c/p>\n\u003cfigure id=\"attachment_113467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113467\" src=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-800x529.jpg\" alt=\"Giant ads for Jay-Z's '4:44' album, like this one on the side of a bus? Not great news for some numerologists. \" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1020x675.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-768x508.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1536x1016.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-2048x1355.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1920x1270.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Giant ads for Jay-Z's '4:44' album? Not great news for some numerologists. \u003ccite>(TIMOTHY A. CLARY/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13891898']\u003ca href=\"http://feliciabender.com/blog/444jayz/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Bender\u003c/a>, \"The Practical Numerologist,\" has a more positive spin. \"There are obvious connections,\" she says, \"like Beyoncé’s birthday is on the 4th, his mother’s birthday is on the 4th, his own birthday on the 4th, and he and Beyoncé got married on the 4th.\" She continues: \"The number 4 carries the energy of structure ... The 4 is all about hard work, process, stability, and a certain level of security. Its power resides in envisioning something and creating it from nothing … Where others give up or want the easy way out, the 4 stays late and comes to work early, if you know what I mean.\"\u003c/p>\n\u003cp>And if you think the numerologists sound bananas, just wait until you hear what the illuminati conspiracy theorists had to say on Twitter.\u003c/p>\n\u003cp>On June 30, 2017, \u003ca href=\"https://twitter.com/locale40th\" target=\"_blank\" rel=\"noopener noreferrer\">@locale40th\u003c/a> \u003ca href=\"https://twitter.com/locale40th/status/880814491881140224\" target=\"_blank\" rel=\"noopener noreferrer\">pointed out\u003c/a>: \"On 4:44 Illuminati Jazy Z/Carter raps about ego (devil's sin), being stuck in La La Land, & catching 'The Eye.\" 4:44 upside down like 66:6.\u003c/p>\n\u003cp>Then \u003ca href=\"https://twitter.com/KONNYKON_\" target=\"_blank\" rel=\"noopener noreferrer\">@KONNYKON\u003c/a> chimed in with \u003ca href=\"https://twitter.com/KONNYKON_/status/880815238169473025\" target=\"_blank\" rel=\"noopener noreferrer\">a tweet\u003c/a> that referenced Jay-Z's 1996 track \"\u003ca href=\"https://www.youtube.com/watch?v=uC5JYhNAymY&list=RDuC5JYhNAymY#t=15\" target=\"_blank\" rel=\"noopener noreferrer\">22 Twos\u003c/a>.\" \"Jay Z did 22 2's first,\" it said. \"Now 4:44. 222 + 444 = 666 #illuminati.\"\u003c/p>\n\u003cp>Thank you, interwebs, for somehow transporting us from the time on a clock in Jay-Z's bedroom to ACTUAL SATAN.\u003c/p>\n\u003cp>Back on Planet Earth (specifically the Meatpacking District of Manhattan), some other folks just noticed that 444 just might have a link to the address of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Standard,_High_Line\" target=\"_blank\" rel=\"noopener noreferrer\">Standard Hotel\u003c/a>. This is significant, since that's where Solange Knowles \u003ca href=\"http://www.tmz.com/videos/0_6lrpg6kh/\" target=\"_blank\" rel=\"noopener noreferrer\">physically attacked her brother-in-law \u003c/a>in an elevator.\u003c/p>\n\u003cp>https://twitter.com/StephenOssola/status/890063102515007488?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.spin.com%2F2017%2F07%2F444-solange-jay-z-elevator%2F\u003c/p>\n\u003cp>A quick Google search reveals that The Standard's actual address is 848 Washington St. Though if we're clutching at straws, \u003ca href=\"https://standardhotels.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Shop at The Standard\u003c/a>, as well as the hotel's rooftop bar, \u003ca href=\"http://www.standardhotels.com/new-york/features/le-bain\" target=\"_blank\" rel=\"noopener noreferrer\">Le Bain\u003c/a>, is, in fact listed as 444 W. 13th Street. (Wait... 13? \u003cem>\u003ca href=\"http://taylorswift.wikia.com/wiki/13\" target=\"_blank\" rel=\"noopener noreferrer\">Does Taylor Swift have something to do with this too?!\u003c/a>\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let's face it, not even Beyoncé directly referencing these kinds of conspiracy theories on her track, \u003ca href=\"https://www.youtube.com/watch?v=WDZJPJV__bQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Formation\"\u003c/a> (\u003cem>\"Ya'll haters corny with that Illuminati mess\"\u003c/em>) could shut them down. And thank goodness for that—this is altogether far too much fun.\u003c/p>\n\n",
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"excerpt": "What does 4:44 REALLY mean? Numerologists, bible scholars, Obama supporters, and more weigh in.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's been just over a month since Jay-Z's \u003cem>4:44\u003c/em> album landed. Special attention has been paid across the board to the title track, thanks to the fact that it's a painfully raw apology to Beyoncé for basically everything we heard about on \u003cem>Lemonade\u003c/em>. Pay close attention to the lyrics if you want an unflinching look at the weight that comes with deep remorse, regret, and guilt.\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/zSkA61esq_c'\n title='//www.youtube.com/embed/zSkA61esq_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay told \u003cem>\u003ca href=\"http://www.xxlmag.com/news/2017/06/jay-z-breaks-down-meaning-songs-444-album/\" target=\"_blank\" rel=\"noopener noreferrer\">XXL\u003c/a>\u003c/em> that the track is \"the crux of the album, just right in the middle of the album. And I woke up, literally, at 4:44 in the morning, 4:44 AM, to write this song. So it became the title of the album and everything. It’s the title track because it’s such a powerful song, and I just believe one of the best songs I’ve ever written.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So that's that, right? We've got the song, an amazing video, a response to \u003cem>Lemonade,\u003c/em> and an explanation about the title. Done! The End. Only not, because in the age of the internet, this just \u003cem>has\u003c/em> to be about a bunch of other stuff too.\u003c/p>\n\u003cp>Before the album was even released, Twitter was already throwing out theories. On June 6, 2017, \u003ca href=\"https://twitter.com/geespin\" target=\"_blank\" rel=\"noopener noreferrer\">@Geespin\u003c/a> \u003ca href=\"https://twitter.com/geespin/status/872199299349835776\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a>: \"JOHN 4:44 — 'For Jesus himself had testified that a prophet has no honor in his own hometown.' ....read what you may into that.\" The following day, another user, \u003ca href=\"https://twitter.com/JerrelXL\" target=\"_blank\" rel=\"noopener noreferrer\">@JerrelXL\u003c/a>, \u003ca href=\"https://twitter.com/JerrelXL/status/872470378550927360\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a>: \"What if 4:44 is also an homage to Jay's good friend and the greatest president of our lifetime Barack Obama?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the album's release, one of the first groups to jump in with some extra analysis were numerologists. You can't blame them really. According to \u003ca href=\"http://www.spiritual-path.com/numerology.htm\" target=\"_blank\" rel=\"noopener noreferrer\">SpiritualPath.com\u003c/a>, seeing the number sequence 444 or 4444 repeatedly is a \"Cosmic 'No!'\" that \"indicates a 'No' to absolutely anything\" the person is thinking about at their time of seeing it. (Imagine using number sequences to make decisions every single day, then having one of the biggest artists in the world name his album after the sequence that means \"No.\")\u003c/p>\n\u003cfigure id=\"attachment_113467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-113467\" src=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-800x529.jpg\" alt=\"Giant ads for Jay-Z's '4:44' album, like this one on the side of a bus? Not great news for some numerologists. \" width=\"800\" height=\"529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-800x529.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1020x675.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-768x508.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1536x1016.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-2048x1355.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/GettyImages-803544978-1920x1270.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Giant ads for Jay-Z's '4:44' album? Not great news for some numerologists. \u003ccite>(TIMOTHY A. CLARY/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"http://feliciabender.com/blog/444jayz/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Bender\u003c/a>, \"The Practical Numerologist,\" has a more positive spin. \"There are obvious connections,\" she says, \"like Beyoncé’s birthday is on the 4th, his mother’s birthday is on the 4th, his own birthday on the 4th, and he and Beyoncé got married on the 4th.\" She continues: \"The number 4 carries the energy of structure ... The 4 is all about hard work, process, stability, and a certain level of security. Its power resides in envisioning something and creating it from nothing … Where others give up or want the easy way out, the 4 stays late and comes to work early, if you know what I mean.\"\u003c/p>\n\u003cp>And if you think the numerologists sound bananas, just wait until you hear what the illuminati conspiracy theorists had to say on Twitter.\u003c/p>\n\u003cp>On June 30, 2017, \u003ca href=\"https://twitter.com/locale40th\" target=\"_blank\" rel=\"noopener noreferrer\">@locale40th\u003c/a> \u003ca href=\"https://twitter.com/locale40th/status/880814491881140224\" target=\"_blank\" rel=\"noopener noreferrer\">pointed out\u003c/a>: \"On 4:44 Illuminati Jazy Z/Carter raps about ego (devil's sin), being stuck in La La Land, & catching 'The Eye.\" 4:44 upside down like 66:6.\u003c/p>\n\u003cp>Then \u003ca href=\"https://twitter.com/KONNYKON_\" target=\"_blank\" rel=\"noopener noreferrer\">@KONNYKON\u003c/a> chimed in with \u003ca href=\"https://twitter.com/KONNYKON_/status/880815238169473025\" target=\"_blank\" rel=\"noopener noreferrer\">a tweet\u003c/a> that referenced Jay-Z's 1996 track \"\u003ca href=\"https://www.youtube.com/watch?v=uC5JYhNAymY&list=RDuC5JYhNAymY#t=15\" target=\"_blank\" rel=\"noopener noreferrer\">22 Twos\u003c/a>.\" \"Jay Z did 22 2's first,\" it said. \"Now 4:44. 222 + 444 = 666 #illuminati.\"\u003c/p>\n\u003cp>Thank you, interwebs, for somehow transporting us from the time on a clock in Jay-Z's bedroom to ACTUAL SATAN.\u003c/p>\n\u003cp>Back on Planet Earth (specifically the Meatpacking District of Manhattan), some other folks just noticed that 444 just might have a link to the address of the \u003ca href=\"https://en.wikipedia.org/wiki/The_Standard,_High_Line\" target=\"_blank\" rel=\"noopener noreferrer\">Standard Hotel\u003c/a>. This is significant, since that's where Solange Knowles \u003ca href=\"http://www.tmz.com/videos/0_6lrpg6kh/\" target=\"_blank\" rel=\"noopener noreferrer\">physically attacked her brother-in-law \u003c/a>in an elevator.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A quick Google search reveals that The Standard's actual address is 848 Washington St. Though if we're clutching at straws, \u003ca href=\"https://standardhotels.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Shop at The Standard\u003c/a>, as well as the hotel's rooftop bar, \u003ca href=\"http://www.standardhotels.com/new-york/features/le-bain\" target=\"_blank\" rel=\"noopener noreferrer\">Le Bain\u003c/a>, is, in fact listed as 444 W. 13th Street. (Wait... 13? \u003cem>\u003ca href=\"http://taylorswift.wikia.com/wiki/13\" target=\"_blank\" rel=\"noopener noreferrer\">Does Taylor Swift have something to do with this too?!\u003c/a>\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let's face it, not even Beyoncé directly referencing these kinds of conspiracy theories on her track, \u003ca href=\"https://www.youtube.com/watch?v=WDZJPJV__bQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Formation\"\u003c/a> (\u003cem>\"Ya'll haters corny with that Illuminati mess\"\u003c/em>) could shut them down. And thank goodness for that—this is altogether far too much fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Lindsay Lohan’s ‘I Know Who Killed Me’ Should Be a Cult Favorite",
"headTitle": "Why Lindsay Lohan’s ‘I Know Who Killed Me’ Should Be a Cult Favorite | KQED",
"content": "\u003cp>Exactly ten years ago, \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">Lindsay Lohan \u003c/a>starred in one of the reasons she ceased to have a movie career. \u003ca href=\"http://www.imdb.com/title/tt0897361/?ref_=nv_sr_1\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a> was painful at the time, but has only grown more baffling and preposterous as the years have passed.\u003c/p>\n\u003cp>\u003cstrong>Spoiler alert:\u003c/strong> I’m about to tell you everything about this movie. I mention this because watching \u003cem>I Know Who Killed Me\u003c/em> with zero knowledge of it is such a literally astounding experience, you might want to experience that, spoiler-free, before you read this.\u003c/p>\n\u003cp>For those of you who wish to proceed, just know that I‘m not going to present the film’s storyline in the twisty-turny order it unfolds in. Instead, I’ll just tell you what you learn by the end, because getting rid of the non-linear structure of this movie really highlights its awfulness.\u003c/p>\n\u003cp>Ready? (You think you are, but you’re not — you couldn’t possibly be.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB6YtM1tH4k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lindsay Lohan plays twins (like \u003ca href=\"http://www.imdb.com/title/tt0120783/?ref_=nv_sr_1\">\u003cem>The Parent Trap\u003c/em>\u003c/a>! Only not at all!) who don’t know that they’re twins. Back in 1988, Daniel and Susan Fleming conceived a child. When their baby died “in the incubator,” Daniel strolled down the hall and decided to purchase a baby girl from a drug addict who’d just birthed twins “because she had one to spare.” (That’s an actual line.) Daniel never tells his wife, and they somehow manage to successfully wander out of the hospital with someone else’s un-treated crack baby without any staff noticing or stopping Susan to tell her that her own baby is dead. (What kind of hospital is this?!)\u003c/p>\n\u003cp>The Flemings name their new baby Aubrey. Across town, her twin (also presumably surviving without any medical intervention) is named Dakota. All grown up, Aubrey loves to play piano and write, and she won’t have sex with her boyfriend. On the flip side, Dakota is a stripper who curses a lot and smokes cigarettes. Somehow, despite never meeting, both girls have grown their hair into identical styles, down to cut, length \u003cem>and\u003c/em> color, and maintained identical complexions and weights, despite their wildly differing lifestyles.\u003c/p>\n\u003cp>One night, Aubrey is kidnapped by a dude that has a thing for chopping off body parts. Once Aubrey is tied up, dude crushes and freezes Aubrey’s right hand before cutting off her middle finger. Across town, Dakota is working as a stripper. When she gets off stage, she pulls off her long red gloves to find that the middle finger of her right hand has fallen off. (No, really.) Naturally, she responds to this by taking the bus home (“Take an extra towel,” her boss generously offers) and attempting to sew her finger back on.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/I-Know-Who-Killed-Me-i-know-who-killed-me-32605273-500-210.gif\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-94218\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/I-Know-Who-Killed-Me-i-know-who-killed-me-32605273-500-210.gif\" alt=\"\" width=\"500\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>Later that night in bed, Dakota has bad dreams and wakes up in a pool of her own blood. She suddenly has a hunch she has a twin and decides that, now that she’s bleeding profusely, it’s a perfect time to head out and find her. Later, a random driver finds Dakota passed out in a ditch (we’re never told how she got there), and the cops (and everyone else) presume she is the still-missing Aubrey. After a spell in the hospital — where Darnell from \u003cem>My Name is Earl\u003c/em> gives her a robotic hand and leg (YES!) — she goes home with her twin’s family.\u003c/p>\n\u003cfigure id=\"attachment_91589\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-91589 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM.png\" alt=\"\" width=\"398\" height=\"261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM.png 398w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-240x157.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-375x246.png 375w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Photo: TriStar Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>Dakota can’t remember exactly what happened to her, but she tells everyone repeatedly that she is not Aubrey. No one believes her — not even the dude who bought a twin baby from a crackhead 19 years earlier! Slowly but surely, Dakota figures everything out by having a variety of psychic visions involving blue roses and ribbons, and going to Ask.com (of all places) to find out about “stigmatic twins.” This all magically gives Dakota the ability to know who Aubrey’s kidnapper is.\u003c/p>\n\u003cp>After confronting Aubrey’s dad about his baby-buying, the two head to the kidnapper’s house, Dakota manages to cut his hand clean off in, like, 30 seconds, using only a piece of glass, then Aubrey’s dad dies on a table for reasons that are never explained. Dakota kills the kidnapper by stabbing him in the neck.\u003c/p>\n\u003cp>After all of this, Dakota magically knows that her long lost twin is buried close-by, so she grabs a shovel, picks a spot, digs for a minute — miraculously unencumbered by her brand new bionic limbs — and finds Aubrey, buried under stained glass (fancy!), still alive and flawless despite a bit of a smudge in her freshly applied lipstick. Aubrey says absolutely nothing about the fact that her mirror image is looming over her, and Dakota just lies down next to her.\u003c/p>\n\u003cp>That — remarkably — is The End.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter wp-image-91591 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM.png\" alt=\"\" width=\"427\" height=\"211\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM.png 427w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-240x119.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-375x185.png 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cbr>\nPlease. By all means. Take a minute to digest.\u003c/p>\n\u003cp>Amazingly, \u003cem>I Know Who Killed Me\u003c/em> is actually even worse when viewed in its natural state. The dialogue alone is bewilderingly awkward. Some samples:\u003c/p>\n\u003col>\n\u003cli>One scene consists, in its entirety, of a cop saying: “I hope this investigation doesn’t interfere with bingo night.”\u003c/li>\n\u003cli>Immediately after having sex with Aubrey’s boyfriend, Dakota says, “My finger got cut off, but nobody did it. Who’s gonna believe that? Look at you — you don’t even believe it.”\u003cbr>\nJared: “Yeah, I do.”\u003cbr>\nDakota: “It’s because I f–ked you.”\u003c/li>\n\u003cli>Dakota, also to Jared: “It’s phantom limb pain. Maybe that’s why ghosts are restless. Because there’s nothing left of what they were, except for the pain.” (Dear. God.)\u003c/li>\n\u003cli>Dakota to the cops, after waking up in the hospital: “Fingers! Leg! Hand! Gone! I practically f–king died!”\u003c/li>\n\u003cli>When Dakota corners Aubrey’s kidnapper, he says: “Why aren’t you dead? I f–king buried you. Now I have to f–king do the whole thing all over again.”\u003c/li>\n\u003c/ol>\n\u003cp>The thing that really elevates \u003cem>I Know Who Killed Me\u003c/em> to possible Worst Movie of All Time status is the fact that there are also weird, awkward elements that don’t contribute anything to the plot. For example, when Dakota and Jared have sex, the scene keeps panning to Aubrey’s mother, who can hear them humping while she’s cleaning the kitchen. Rather than retire to a different room in her massive house, Mrs. Fleming just scrubs the sink extra-frantically.\u003c/p>\n\u003cp>Then there’s this wholly unnecessary moment. Please note: sexy gardener doesn’t appear before or after this scene at all. This is his entire role, scorpion-tattoo-nipple and all:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z81EtsTLTfU\u003c/p>\n\u003cp>None of this is aided by the fact that there isn’t one likable person in the entire movie. Aubrey is arrogant and entitled. Dakota is defensive and rude. Susan is a doormat. Daniel is a creep. The cops are idiots. Jared is in a perpetual state of arousal, but can’t make-out to save his life. There is literally nobody at all to root for in this thing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>I Know Who Killed Me\u003c/em> is awful in such a plethora of ways, it should really have been elevated to cult status by now, à la \u003ca href=\"https://en.wikipedia.org/wiki/The_Room_(film)\">\u003cem>The Room\u003c/em>\u003c/a>. While Lohan would probably prefer to leave it buried, like the body of Aubrey Fleming, I say we dig this thing up and never let it go.\u003c/p>\n\n",
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"excerpt": "Lindsay Lohan's worst movie might also be one of the worst ever made. So where are the viewing parties?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exactly ten years ago, \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">Lindsay Lohan \u003c/a>starred in one of the reasons she ceased to have a movie career. \u003ca href=\"http://www.imdb.com/title/tt0897361/?ref_=nv_sr_1\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a> was painful at the time, but has only grown more baffling and preposterous as the years have passed.\u003c/p>\n\u003cp>\u003cstrong>Spoiler alert:\u003c/strong> I’m about to tell you everything about this movie. I mention this because watching \u003cem>I Know Who Killed Me\u003c/em> with zero knowledge of it is such a literally astounding experience, you might want to experience that, spoiler-free, before you read this.\u003c/p>\n\u003cp>For those of you who wish to proceed, just know that I‘m not going to present the film’s storyline in the twisty-turny order it unfolds in. Instead, I’ll just tell you what you learn by the end, because getting rid of the non-linear structure of this movie really highlights its awfulness.\u003c/p>\n\u003cp>Ready? (You think you are, but you’re not — you couldn’t possibly be.)\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/QB6YtM1tH4k'\n title='//www.youtube.com/embed/QB6YtM1tH4k'\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>Lindsay Lohan plays twins (like \u003ca href=\"http://www.imdb.com/title/tt0120783/?ref_=nv_sr_1\">\u003cem>The Parent Trap\u003c/em>\u003c/a>! Only not at all!) who don’t know that they’re twins. Back in 1988, Daniel and Susan Fleming conceived a child. When their baby died “in the incubator,” Daniel strolled down the hall and decided to purchase a baby girl from a drug addict who’d just birthed twins “because she had one to spare.” (That’s an actual line.) Daniel never tells his wife, and they somehow manage to successfully wander out of the hospital with someone else’s un-treated crack baby without any staff noticing or stopping Susan to tell her that her own baby is dead. (What kind of hospital is this?!)\u003c/p>\n\u003cp>The Flemings name their new baby Aubrey. Across town, her twin (also presumably surviving without any medical intervention) is named Dakota. All grown up, Aubrey loves to play piano and write, and she won’t have sex with her boyfriend. On the flip side, Dakota is a stripper who curses a lot and smokes cigarettes. Somehow, despite never meeting, both girls have grown their hair into identical styles, down to cut, length \u003cem>and\u003c/em> color, and maintained identical complexions and weights, despite their wildly differing lifestyles.\u003c/p>\n\u003cp>One night, Aubrey is kidnapped by a dude that has a thing for chopping off body parts. Once Aubrey is tied up, dude crushes and freezes Aubrey’s right hand before cutting off her middle finger. Across town, Dakota is working as a stripper. When she gets off stage, she pulls off her long red gloves to find that the middle finger of her right hand has fallen off. (No, really.) Naturally, she responds to this by taking the bus home (“Take an extra towel,” her boss generously offers) and attempting to sew her finger back on.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/I-Know-Who-Killed-Me-i-know-who-killed-me-32605273-500-210.gif\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-94218\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/I-Know-Who-Killed-Me-i-know-who-killed-me-32605273-500-210.gif\" alt=\"\" width=\"500\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>Later that night in bed, Dakota has bad dreams and wakes up in a pool of her own blood. She suddenly has a hunch she has a twin and decides that, now that she’s bleeding profusely, it’s a perfect time to head out and find her. Later, a random driver finds Dakota passed out in a ditch (we’re never told how she got there), and the cops (and everyone else) presume she is the still-missing Aubrey. After a spell in the hospital — where Darnell from \u003cem>My Name is Earl\u003c/em> gives her a robotic hand and leg (YES!) — she goes home with her twin’s family.\u003c/p>\n\u003cfigure id=\"attachment_91589\" class=\"wp-caption aligncenter\" style=\"max-width: 398px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-91589 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM.png\" alt=\"\" width=\"398\" height=\"261\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM.png 398w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-160x105.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-240x157.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.41.16-AM-375x246.png 375w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Photo: TriStar Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>Dakota can’t remember exactly what happened to her, but she tells everyone repeatedly that she is not Aubrey. No one believes her — not even the dude who bought a twin baby from a crackhead 19 years earlier! Slowly but surely, Dakota figures everything out by having a variety of psychic visions involving blue roses and ribbons, and going to Ask.com (of all places) to find out about “stigmatic twins.” This all magically gives Dakota the ability to know who Aubrey’s kidnapper is.\u003c/p>\n\u003cp>After confronting Aubrey’s dad about his baby-buying, the two head to the kidnapper’s house, Dakota manages to cut his hand clean off in, like, 30 seconds, using only a piece of glass, then Aubrey’s dad dies on a table for reasons that are never explained. Dakota kills the kidnapper by stabbing him in the neck.\u003c/p>\n\u003cp>After all of this, Dakota magically knows that her long lost twin is buried close-by, so she grabs a shovel, picks a spot, digs for a minute — miraculously unencumbered by her brand new bionic limbs — and finds Aubrey, buried under stained glass (fancy!), still alive and flawless despite a bit of a smudge in her freshly applied lipstick. Aubrey says absolutely nothing about the fact that her mirror image is looming over her, and Dakota just lies down next to her.\u003c/p>\n\u003cp>That — remarkably — is The End.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter wp-image-91591 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM.png\" alt=\"\" width=\"427\" height=\"211\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM.png 427w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-160x79.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-240x119.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-12.52.20-AM-375x185.png 375w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cbr>\nPlease. By all means. Take a minute to digest.\u003c/p>\n\u003cp>Amazingly, \u003cem>I Know Who Killed Me\u003c/em> is actually even worse when viewed in its natural state. The dialogue alone is bewilderingly awkward. Some samples:\u003c/p>\n\u003col>\n\u003cli>One scene consists, in its entirety, of a cop saying: “I hope this investigation doesn’t interfere with bingo night.”\u003c/li>\n\u003cli>Immediately after having sex with Aubrey’s boyfriend, Dakota says, “My finger got cut off, but nobody did it. Who’s gonna believe that? Look at you — you don’t even believe it.”\u003cbr>\nJared: “Yeah, I do.”\u003cbr>\nDakota: “It’s because I f–ked you.”\u003c/li>\n\u003cli>Dakota, also to Jared: “It’s phantom limb pain. Maybe that’s why ghosts are restless. Because there’s nothing left of what they were, except for the pain.” (Dear. God.)\u003c/li>\n\u003cli>Dakota to the cops, after waking up in the hospital: “Fingers! Leg! Hand! Gone! I practically f–king died!”\u003c/li>\n\u003cli>When Dakota corners Aubrey’s kidnapper, he says: “Why aren’t you dead? I f–king buried you. Now I have to f–king do the whole thing all over again.”\u003c/li>\n\u003c/ol>\n\u003cp>The thing that really elevates \u003cem>I Know Who Killed Me\u003c/em> to possible Worst Movie of All Time status is the fact that there are also weird, awkward elements that don’t contribute anything to the plot. For example, when Dakota and Jared have sex, the scene keeps panning to Aubrey’s mother, who can hear them humping while she’s cleaning the kitchen. Rather than retire to a different room in her massive house, Mrs. Fleming just scrubs the sink extra-frantically.\u003c/p>\n\u003cp>Then there’s this wholly unnecessary moment. Please note: sexy gardener doesn’t appear before or after this scene at all. This is his entire role, scorpion-tattoo-nipple and all:\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/Z81EtsTLTfU'\n title='//www.youtube.com/embed/Z81EtsTLTfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>None of this is aided by the fact that there isn’t one likable person in the entire movie. Aubrey is arrogant and entitled. Dakota is defensive and rude. Susan is a doormat. Daniel is a creep. The cops are idiots. Jared is in a perpetual state of arousal, but can’t make-out to save his life. There is literally nobody at all to root for in this thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I Know Who Killed Me\u003c/em> is awful in such a plethora of ways, it should really have been elevated to cult status by now, à la \u003ca href=\"https://en.wikipedia.org/wiki/The_Room_(film)\">\u003cem>The Room\u003c/em>\u003c/a>. While Lohan would probably prefer to leave it buried, like the body of Aubrey Fleming, I say we dig this thing up and never let it go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Screen Saviors: Can Activism-Focused Games Change Our Behavior?",
"title": "Screen Saviors: Can Activism-Focused Games Change Our Behavior?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>If you don't have time to call your senator, stage a protest or partake in a rescue mission at a slaughterhouse, you can at least save some chickens on your phone. Thanks to the new animal rights app \u003ca href=\"https://itunes.apple.com/us/app/paintball-hero/id1197127542?ls=1&mt=8\">Paintball Hero\u003c/a>, created by 17-year-old game developer Skylar Thomas, animal liberation is now as easy as click, swipe, win.\u003c/p>\n\u003cp>An animal rights activist since early childhood, Thomas sought to start a conversation about animal abuse and mistreatment through gaming. He partnered with \u003ca href=\"https://www.peta2.com/\">PETA2\u003c/a>, the youth chapter of People for the Ethical Treatment of Animals, to turn animal rights activism into a 3-D mobile app experience. In the multilevel game, activists or \"rebels\" can rescue animals in three settings: factory farms, rain forests and circuses. As players move through their various missions, they blast corporate gatekeepers via the fatal forces of \"education paintballs,\" colorful blocks that educate as they kill. In the high-stakes land of Paintball Hero, getting informed can get deadly.\u003c/p>\n\u003cp>The response to the game, Thomas says, has been largely positive. The game's reach has been wide, extending far beyond the animal rights echo chamber. Thomas says the app has even attracted players who once derided the vegan lifestyle. \"They didn't realize until becoming engaged in playing what they were actually doing in the game,\" he says, \"And then they asked questions. Then, they paused to think.\"\u003c/p>\n\u003cp>Paintball Hero is not the only game to create a narrative around a cause. In recent years, there has been an influx of games centered on social and political issues, from sexism to racism to the refugee crisis. \u003ca href=\"https://andyman404.itch.io/the-cat-in-the-hijab\">The Cat in the Hijab\u003c/a>, created by Andrew Wang, features stylized cats who are lobbed with hate speech on a subway train. Here, users enter a world that conjures our own, inhabited by feline bigots who could very well have some ancestral ties to brutish Twitter trolls.\u003c/p>\n\u003cfigure id=\"attachment_94059\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg class=\"wp-image-94059 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM.png\" alt=\"\" width=\"635\" height=\"356\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM.png 635w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-520x292.png 520w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">\"The Cat in the Hijab\", by Andrew Wang, for #ResistJam\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2013/12/13/250737898/game-director-shifts-from-grand-theft-auto-to-iranian-revolution\">1979 Revolution: Black Friday\u003c/a>, produced by iNK Stories, users play a photojournalist caught in the deadly throes of the Islamic Revolution. The storyline presents some tough choices: Do you side with your family or political allies? Do you partake in nonviolence or armed struggle? Growing up as a child in Iran during the revolution, game director Navid Khonsari hoped the game would help players understand the moral ambiguities that activists face during war.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While certainly compelling, does the impact of these \"games for good\" reverberate off-screen? How seamlessly do our actions drift from our phones to the real world? Psychologist Mari Swingle, author of \u003ca href=\"https://www.newsociety.com/Books/I/i-Minds\">i-Minds: How Cell Phones, Computers, Gaming, and Social Media are Changing Our Brains, Our Behavior, and the Evolution of Our Species\u003c/a>, says the data is still thin. However, she believes that a game's influence on our behavior hinges heavily on our identification with the game and its avatar. When we see ourselves in the game, our on- and off-screen lives tend to blur. We feel more connected to our on-screen actions, making us more likely to repeat them.\u003c/p>\n\u003cp>Swingle argues that users' relationship to the subject matter also impacts how games translate into their lives. The same game can activate different brain centers and systems in different users. Homelessness, for instance, can trigger a range of emotions in a person: empathy, pity, fear and even superiority. A game intended to augment empathy and understanding for the homeless plight may not get past, let's say, the base emotion of fear. If the game can't change the base emotion, it can't shift behavior.\u003c/p>\n\u003cp>Moreover, how messages are delivered can influence how we process them. Because gamers often seek out games that align with their beliefs, Nathan Piperno — the lead designer and writer for the game development company Inner Void Interactive — insists that the key to changing minds is subtle messaging. Unless a developer wants to simply \"code to the choir,\" messaging should meld seamlessly with the rest of the storyline. \"I think players don't want to be lectured,\" Piperno explains, \"But they can be extremely perceptive if important themes are delivered organically in the game.\"\u003c/p>\n\u003cp>How we game also matters. Kirk Kristofferson, who co-authored the study \"\u003ca href=\"http://www.sauder.ubc.ca/Faculty/People/Faculty_Members/~/media/Files/Faculty%20Research/Marketing%20Division/Marketing%20Publications/White/Kristofferson%20White%20and%20Peloza%20JCR2014.ashx\">The Nature of Slacktivism: How the Social Observability of an Initial Act of Token Support Affects Prosocial Action\u003c/a>,\" found that when people's acts of token support were public, it would satisfy their desire to look good to others. Showing off was their endgame. No further action needed. Gaming, on the other hand, tends to be a more private act, unless we Instagram our scores. When people privately support a cause, they tend to believe their values align with that cause, which leads to subsequent support. Hence, gaming, when not broadcasted to a live audience or a newsfeed, should inspire future action.\u003c/p>\n\u003cp>Researchers are still determining how gaming imprints itself on our thoughts and behavior. The link between our on- and off-screen selves exists, but it's complex, inconclusive and dependent on a number of interconnecting variables. Regardless of the direct behavioral connection, Kahlief Adams, who, along with Shareef Jackson and Cicero Holmes, produces the \u003ca href=\"http://esn.fm/spawnonme/\">Spawn On Me\u003c/a> podcast, believes games can achieve one of the most vital steps in driving change: informing others. \"Often we see folks who might not even know about a particular social justice issue,\" he says, \"and video games can be the perfect gateway into learning more.\"\u003c/p>\n\u003cp>To generate more direct and immediate results, some activism-focused games are donating profits from their in-app purchases to a cause or charity. Likewise, the startup \u003ca href=\"http://gamesthatgive.net/\">GamesThatGive\u003c/a> creates Facebook games for brands, such as Pepsi and MasterCard, which donate to charities when consumers play. Some of these games donate based on time played, while others donate when players reach a certain level or achievement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y1vtPKJ2fIQ\u003c/p>\n\u003cp>Drawing on the feverish energy and focus of the gaming community, campaign platforms such as Spawn on Me's \u003ca href=\"http://spawnon.me/spawn4good/\">Spawn4Good\u003c/a> and the feminist gaming site Not Your Mama's Gamer's \u003ca href=\"http://www.nymgamer.com/?page_id=11635\">Gaming for Good\u003c/a> have had success raising money for various social causes. Likewise, \u003ca href=\"https://www.guardiancon.co/\">GuardianCon\u003c/a>, a fan festival for the first-person shooter game Destiny, raised over $1 million this year through a streaming marathon.\u003c/p>\n\u003cp>The impact of activism-focused games might be difficult to quantify, but these game developers are still making important strides. They are skewering stereotypes of gamers, stretching the boundaries of their medium and steering their gaze outward — and toward the real world.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rachel Ament is a writer and editor living in Washington, D.C. She edited the book of essays \u003c/em>\u003ca href=\"http://jewishdaughter.wixsite.com/jewishdaughter\">Jewish Daughter Diaries: True Stories of Being Loved Too Much By Our Moms\u003c/a>\u003cem>. \u003c/em>\u003cem>You can follow her on Twitter\u003c/em> \u003ca href=\"http://www.twitter.com/rachelament\">@RachelAment\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Screen+Saviors%3A+Can+Activism-Focused+Games+Change+Our+Behavior%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you don't have time to call your senator, stage a protest or partake in a rescue mission at a slaughterhouse, you can at least save some chickens on your phone. Thanks to the new animal rights app \u003ca href=\"https://itunes.apple.com/us/app/paintball-hero/id1197127542?ls=1&mt=8\">Paintball Hero\u003c/a>, created by 17-year-old game developer Skylar Thomas, animal liberation is now as easy as click, swipe, win.\u003c/p>\n\u003cp>An animal rights activist since early childhood, Thomas sought to start a conversation about animal abuse and mistreatment through gaming. He partnered with \u003ca href=\"https://www.peta2.com/\">PETA2\u003c/a>, the youth chapter of People for the Ethical Treatment of Animals, to turn animal rights activism into a 3-D mobile app experience. In the multilevel game, activists or \"rebels\" can rescue animals in three settings: factory farms, rain forests and circuses. As players move through their various missions, they blast corporate gatekeepers via the fatal forces of \"education paintballs,\" colorful blocks that educate as they kill. In the high-stakes land of Paintball Hero, getting informed can get deadly.\u003c/p>\n\u003cp>The response to the game, Thomas says, has been largely positive. The game's reach has been wide, extending far beyond the animal rights echo chamber. Thomas says the app has even attracted players who once derided the vegan lifestyle. \"They didn't realize until becoming engaged in playing what they were actually doing in the game,\" he says, \"And then they asked questions. Then, they paused to think.\"\u003c/p>\n\u003cp>Paintball Hero is not the only game to create a narrative around a cause. In recent years, there has been an influx of games centered on social and political issues, from sexism to racism to the refugee crisis. \u003ca href=\"https://andyman404.itch.io/the-cat-in-the-hijab\">The Cat in the Hijab\u003c/a>, created by Andrew Wang, features stylized cats who are lobbed with hate speech on a subway train. Here, users enter a world that conjures our own, inhabited by feline bigots who could very well have some ancestral ties to brutish Twitter trolls.\u003c/p>\n\u003cfigure id=\"attachment_94059\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003cimg class=\"wp-image-94059 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM.png\" alt=\"\" width=\"635\" height=\"356\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM.png 635w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-160x90.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-240x135.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-375x210.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-26-at-3.06.06-PM-520x292.png 520w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003cfigcaption class=\"wp-caption-text\">\"The Cat in the Hijab\", by Andrew Wang, for #ResistJam\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2013/12/13/250737898/game-director-shifts-from-grand-theft-auto-to-iranian-revolution\">1979 Revolution: Black Friday\u003c/a>, produced by iNK Stories, users play a photojournalist caught in the deadly throes of the Islamic Revolution. The storyline presents some tough choices: Do you side with your family or political allies? Do you partake in nonviolence or armed struggle? Growing up as a child in Iran during the revolution, game director Navid Khonsari hoped the game would help players understand the moral ambiguities that activists face during war.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While certainly compelling, does the impact of these \"games for good\" reverberate off-screen? How seamlessly do our actions drift from our phones to the real world? Psychologist Mari Swingle, author of \u003ca href=\"https://www.newsociety.com/Books/I/i-Minds\">i-Minds: How Cell Phones, Computers, Gaming, and Social Media are Changing Our Brains, Our Behavior, and the Evolution of Our Species\u003c/a>, says the data is still thin. However, she believes that a game's influence on our behavior hinges heavily on our identification with the game and its avatar. When we see ourselves in the game, our on- and off-screen lives tend to blur. We feel more connected to our on-screen actions, making us more likely to repeat them.\u003c/p>\n\u003cp>Swingle argues that users' relationship to the subject matter also impacts how games translate into their lives. The same game can activate different brain centers and systems in different users. Homelessness, for instance, can trigger a range of emotions in a person: empathy, pity, fear and even superiority. A game intended to augment empathy and understanding for the homeless plight may not get past, let's say, the base emotion of fear. If the game can't change the base emotion, it can't shift behavior.\u003c/p>\n\u003cp>Moreover, how messages are delivered can influence how we process them. Because gamers often seek out games that align with their beliefs, Nathan Piperno — the lead designer and writer for the game development company Inner Void Interactive — insists that the key to changing minds is subtle messaging. Unless a developer wants to simply \"code to the choir,\" messaging should meld seamlessly with the rest of the storyline. \"I think players don't want to be lectured,\" Piperno explains, \"But they can be extremely perceptive if important themes are delivered organically in the game.\"\u003c/p>\n\u003cp>How we game also matters. Kirk Kristofferson, who co-authored the study \"\u003ca href=\"http://www.sauder.ubc.ca/Faculty/People/Faculty_Members/~/media/Files/Faculty%20Research/Marketing%20Division/Marketing%20Publications/White/Kristofferson%20White%20and%20Peloza%20JCR2014.ashx\">The Nature of Slacktivism: How the Social Observability of an Initial Act of Token Support Affects Prosocial Action\u003c/a>,\" found that when people's acts of token support were public, it would satisfy their desire to look good to others. Showing off was their endgame. No further action needed. Gaming, on the other hand, tends to be a more private act, unless we Instagram our scores. When people privately support a cause, they tend to believe their values align with that cause, which leads to subsequent support. Hence, gaming, when not broadcasted to a live audience or a newsfeed, should inspire future action.\u003c/p>\n\u003cp>Researchers are still determining how gaming imprints itself on our thoughts and behavior. The link between our on- and off-screen selves exists, but it's complex, inconclusive and dependent on a number of interconnecting variables. Regardless of the direct behavioral connection, Kahlief Adams, who, along with Shareef Jackson and Cicero Holmes, produces the \u003ca href=\"http://esn.fm/spawnonme/\">Spawn On Me\u003c/a> podcast, believes games can achieve one of the most vital steps in driving change: informing others. \"Often we see folks who might not even know about a particular social justice issue,\" he says, \"and video games can be the perfect gateway into learning more.\"\u003c/p>\n\u003cp>To generate more direct and immediate results, some activism-focused games are donating profits from their in-app purchases to a cause or charity. Likewise, the startup \u003ca href=\"http://gamesthatgive.net/\">GamesThatGive\u003c/a> creates Facebook games for brands, such as Pepsi and MasterCard, which donate to charities when consumers play. Some of these games donate based on time played, while others donate when players reach a certain level or achievement.\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/Y1vtPKJ2fIQ'\n title='//www.youtube.com/embed/Y1vtPKJ2fIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drawing on the feverish energy and focus of the gaming community, campaign platforms such as Spawn on Me's \u003ca href=\"http://spawnon.me/spawn4good/\">Spawn4Good\u003c/a> and the feminist gaming site Not Your Mama's Gamer's \u003ca href=\"http://www.nymgamer.com/?page_id=11635\">Gaming for Good\u003c/a> have had success raising money for various social causes. Likewise, \u003ca href=\"https://www.guardiancon.co/\">GuardianCon\u003c/a>, a fan festival for the first-person shooter game Destiny, raised over $1 million this year through a streaming marathon.\u003c/p>\n\u003cp>The impact of activism-focused games might be difficult to quantify, but these game developers are still making important strides. They are skewering stereotypes of gamers, stretching the boundaries of their medium and steering their gaze outward — and toward the real world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Rachel Ament is a writer and editor living in Washington, D.C. She edited the book of essays \u003c/em>\u003ca href=\"http://jewishdaughter.wixsite.com/jewishdaughter\">Jewish Daughter Diaries: True Stories of Being Loved Too Much By Our Moms\u003c/a>\u003cem>. \u003c/em>\u003cem>You can follow her on Twitter\u003c/em> \u003ca href=\"http://www.twitter.com/rachelament\">@RachelAment\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Screen+Saviors%3A+Can+Activism-Focused+Games+Change+Our+Behavior%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Take a Break from Trump and Watch These Cute Animal Videos Instead",
"title": "Take a Break from Trump and Watch These Cute Animal Videos Instead",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Remember what it was like to wake up and not have your entire day ruined by whatever news slipped out of the HellMouth and onto your phone while you were sleeping? Yeah, me neither.\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/890257397188444160\u003c/p>\n\u003cp>The rest of my day usually goes one of two ways.\u003c/p>\n\u003cp>1. Read every single article about all the new horrible things that are happening. Update Burn Book. Read even more upsetting articles. Rant via every medium -- text, landline, tweet, face-to-face. Google Ruth Bader Ginsburg to make sure she's still doing okay and keeping up with her pushup exercise regimen. Think about Sasha Obama and smile. Go back to being mad about everything. Repeat.\u003c/p>\n\u003cp>2. Add to your life by avoiding the news. Hydrate. Listen to music from your childhood as a way to remind yourself of a time before you realized everyone is craven and evil. Find cute animal videos and watch them all more than twice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, I'm walking through Door #2. I present the cute animal videos du jour.\u003c/p>\n\u003cp>How do you prepare panda cubs for a life without the help of humans? Dress up in a panda costume and play with them!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Ftheguardian%2Fvideos%2F10155738165431323%2F&width=500&show_text=false&height=500&appId\" width=\"500\" height=\"500\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Still feeling bad? Check out this elephant picking up trash just to be nice.\u003c/p>\n\u003cp>https://twitter.com/planetepics/status/887918259831529472\u003c/p>\n\u003cp>Cultivate calmness by watching this zen cutie heed Michelle Obama's words to go high when they go low.\u003c/p>\n\u003cp>https://twitter.com/zboah/status/883738347621036034\u003c/p>\n\u003cp>We should all try to be more like this puppy petting a kitten.\u003c/p>\n\u003cp>https://twitter.com/WoaAnimals/status/889333888690028544\u003c/p>\n\u003cp>Remember to make time for your friends, a.k.a. the baby goats to your baby rhino.\u003c/p>\n\u003cp>https://twitter.com/MeetAnimals/status/890129815336038400\u003c/p>\n\u003cp>Next time something confounding happens in the world, think of this head-tilting pup.\u003c/p>\n\u003cp>https://twitter.com/AnimaILife/status/890059393496215553\u003c/p>\n\u003cp>It's easy to forget to practice self-care during turbulent and stressful times. Make a to-do list that only involves three things: stretching, resting, and cuddling. If it's good enough for these little kitties, it's good enough for you.\u003c/p>\n\u003cp>https://twitter.com/CuteAnimaIVines/status/889558650636861445\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I feel so much better. Don't you?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember what it was like to wake up and not have your entire day ruined by whatever news slipped out of the HellMouth and onto your phone while you were sleeping? Yeah, me neither.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The rest of my day usually goes one of two ways.\u003c/p>\n\u003cp>1. Read every single article about all the new horrible things that are happening. Update Burn Book. Read even more upsetting articles. Rant via every medium -- text, landline, tweet, face-to-face. Google Ruth Bader Ginsburg to make sure she's still doing okay and keeping up with her pushup exercise regimen. Think about Sasha Obama and smile. Go back to being mad about everything. Repeat.\u003c/p>\n\u003cp>2. Add to your life by avoiding the news. Hydrate. Listen to music from your childhood as a way to remind yourself of a time before you realized everyone is craven and evil. Find cute animal videos and watch them all more than twice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cultivate calmness by watching this zen cutie heed Michelle Obama's words to go high when they go low.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It's easy to forget to practice self-care during turbulent and stressful times. Make a to-do list that only involves three things: stretching, resting, and cuddling. If it's good enough for these little kitties, it's good enough for you.\u003c/p>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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