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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The ‘Duang’ Scene in the My Idol App\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=fYFqsG8RmJM\u003c/p>\n\u003cp>If you’ve been on the internet in the last 48 hours, chances are you’ve seen people posting eerily accurate cartoon versions of themselves. The creepiness comes courtesy of \u003ca href=\"https://itunes.apple.com/us/app/xiao-ou-wo-de3d-meng-ou/id867964769?mt=8\" target=\"_blank\" rel=\"noopener\">My Idol\u003c/a>, an app from China that blows Bitstrips and other cartoon-yourself services out of the water. (If you’re interested, \u003ca href=\"http://www.thefader.com/2015/04/22/make-a-deranged-doppleganger-using-my-idol\" target=\"_blank\" rel=\"noopener\">here’s a basic primer\u003c/a>, and the app comes with \u003ca href=\"http://en.faceii.com/g.html\" target=\"_blank\" rel=\"noopener\">English instructions\u003c/a> too.) Though you can make your doppelganger \u003ca href=\"https://www.youtube.com/watch?v=Hm6VRn2emFo\" target=\"_blank\" rel=\"noopener\">sing “Let it Go” from \u003cem>Frozen\u003c/em>\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=oyOwQKXPBLU\" target=\"_blank\" rel=\"noopener\">do a pole dance\u003c/a>, my favorite scene is the utterly bizarre “Duang” song. Based on a nonsense word \u003ca href=\"http://www.dailymail.co.uk/news/peoplesdaily/article-2980500/Duang-Chinese-poke-fun-Jackie-Chan-nonsense-word.html\" target=\"_blank\" rel=\"noopener\">invented by Jackie Chan\u003c/a>, “Duang” has your character alternately preening and acting tough, all while badly rapping in Mandarin over what sounds like an instrumental to Marc Anthony’s “\u003ca href=\"https://www.youtube.com/watch?v=MY4YJxn-9Og\" target=\"_blank\" rel=\"noopener\">You Sang to Me\u003c/a>.” You just have to see it, really.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Taylor Swift & Lana Del Rey: A Match Made in Music Video Heaven\u003c/h2>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://thrilled.tumblr.com/post/111332812207/taylor-swifts-style-video-set-to-summertime\">taylor swift’s style video set to…\u003c/a>\u003c/div>\n\u003cp>Maybe you’ve already seen \u003ca href=\"http://ww2.kqed.org/pop/2015/04/21/taylor-swift-set-to-lana-del-rey-is-the-new-wizard-of-oz-set-to-pink-floyd/\">this mashup on KQED Pop\u003c/a> or on \u003cem>\u003ca href=\"https://www.billboard.com/articles/columns/pop-shop/6538896/taylor-swift-lana-del-rey-style-video-summertime-sadness\">Billboard\u003c/a>\u003c/em> or \u003ca href=\"http://www.nylon.com/articles/taylor-swift-lana-del-rey-style-summertime-sadness-video\">\u003cem>Nylon\u003c/em>\u003c/a>. If not, here’s the deal: Taylor Swift’s music video for her upbeat song “Style” was anything but, more Lana del Rey moodiness than happy-go-lucky. \u003ca href=\"https://vimeo.com/88007652\">I couldn’t help but wonder\u003c/a>: What would happen if I put “Summertime Sadness” over the music video? The result: two works of art that coincidentally play off each other really well, à la Pink Floyd’s \u003cem>The Dark Side of the Moon\u003c/em> and \u003cem>Wizard of Oz\u003c/em>. I can’t stop watching it, not because I made it, but because it makes me feel things. I also can’t stop cracking up while reading \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/04/tumblr-comments-taylor-swift.jpg\">the hilarious comments on Tumblr\u003c/a>, like when one user said “God has spoken” and another replied “This transcended God tho.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>The Jinx\u003c/em>‘s Opening Credits\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=-VTa8-M1DEI\u003c/p>\n\u003cp class=\"p1\">Seriously, when did television title sequences get so good? TV is now stuffed with the kind of imaginative openings that movies have used for decades, and the \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=-VTa8-M1DEI\">strikingly creepy \u003c/a>opening credits\u003c/span> of HBO’s true-crime saga \u003ci>The Jinx\u003c/i> are some of the best, not least because of the music. On first listen, I thought this song was a bizarre cover of Bruce Springsteen’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=nU5MyNuBdhg\">State Trooper\u003c/a>” \u003c/span>because of the virtually identical \u003ci>HOWL! \u003c/i>that \u003ca href=\"https://youtu.be/-VTa8-M1DEI?t=41s\">\u003cspan class=\"s1\">suddenly bursts forth\u003c/span>\u003c/a> amid the falsetto and grungy guitars. But no, it’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=K4Qp1TEKswQ\">Fresh Blood\u003c/a>’\u003c/span> by Eels, a band I literally haven’t thought about since the days of their hit song “\u003ca href=\"https://www.youtube.com/watch?v=qNeqS8DE5i8\">\u003cspan class=\"s1\">Beautiful Freak\u003c/span>\u003c/a>.” As a title theme, it’s as instantly iconic as any of \u003ci>The Wire\u003c/i>’s \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=jR9_wbTrInI\">multiple versions of “Way Down in the Hole\u003c/a>’\u003c/span> — and like Pavlov’s other, more crime-obsessed dog, I start salivating for my next dose of televisual intrigue whenever I hear it. Howl, indeed!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Heartbreaker (Remix)”: A Feminist Anthem from the ’90s?\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=PyjuUu_XDZ8\u003c/p>\n\u003cp>My new favorite radio station (besides KQED, obvi) is 102.1, which specializes in hip-hop throwbacks. They recently played a DJ set in which Snoop Dogg’s “It Ain’t No Fun” and Mariah Carey’s “Heartbreaker (Remix)” were mashed up, and I realized that Mariah’s ’99 hit was a feminist response to the highly offensive Snoop track from ’93. It makes me cringe knowing I screamed Snoop’s derogatory lyrics while riding around in my friends’ cars in high school.\u003c/p>\n\u003cp>A few years after Snoop released his song, Mariah teamed up with Da Brat and Missy Elliot to not only sample that Snoop song, but revise the original lyrics as a counterpoint to the misogyny of Snoop and his collaborators. Snoop appears in the video, so the call-and-response game wasn’t exactly contentious. Da Brat and Snoop dress up like a bride and groom, and he hangs his head while she takes him down a few pegs, spitting her appropriated lyrics in his face, providing a female perspective on the demeaning story told in his original hit.\u003c/p>\n\u003cp>Throughout the video, Mariah is writhing around in a metallic bikini per usual, and she even washes Snoop’s car while wearing booty shorts, so I’m not saying this was a breakthrough for gender equality or turning the tables towards matriarchy, but I enjoyed the reminder of how Mariah, Da Brat and Missy Elliot officially put Snoop and his collaborators on notice, way back in the last century.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The ‘Duang’ Scene in the My Idol App\u003c/h2>\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/fYFqsG8RmJM'\n title='//www.youtube.com/embed/fYFqsG8RmJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve been on the internet in the last 48 hours, chances are you’ve seen people posting eerily accurate cartoon versions of themselves. The creepiness comes courtesy of \u003ca href=\"https://itunes.apple.com/us/app/xiao-ou-wo-de3d-meng-ou/id867964769?mt=8\" target=\"_blank\" rel=\"noopener\">My Idol\u003c/a>, an app from China that blows Bitstrips and other cartoon-yourself services out of the water. (If you’re interested, \u003ca href=\"http://www.thefader.com/2015/04/22/make-a-deranged-doppleganger-using-my-idol\" target=\"_blank\" rel=\"noopener\">here’s a basic primer\u003c/a>, and the app comes with \u003ca href=\"http://en.faceii.com/g.html\" target=\"_blank\" rel=\"noopener\">English instructions\u003c/a> too.) Though you can make your doppelganger \u003ca href=\"https://www.youtube.com/watch?v=Hm6VRn2emFo\" target=\"_blank\" rel=\"noopener\">sing “Let it Go” from \u003cem>Frozen\u003c/em>\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=oyOwQKXPBLU\" target=\"_blank\" rel=\"noopener\">do a pole dance\u003c/a>, my favorite scene is the utterly bizarre “Duang” song. Based on a nonsense word \u003ca href=\"http://www.dailymail.co.uk/news/peoplesdaily/article-2980500/Duang-Chinese-poke-fun-Jackie-Chan-nonsense-word.html\" target=\"_blank\" rel=\"noopener\">invented by Jackie Chan\u003c/a>, “Duang” has your character alternately preening and acting tough, all while badly rapping in Mandarin over what sounds like an instrumental to Marc Anthony’s “\u003ca href=\"https://www.youtube.com/watch?v=MY4YJxn-9Og\" target=\"_blank\" rel=\"noopener\">You Sang to Me\u003c/a>.” You just have to see it, really.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Taylor Swift & Lana Del Rey: A Match Made in Music Video Heaven\u003c/h2>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://thrilled.tumblr.com/post/111332812207/taylor-swifts-style-video-set-to-summertime\">taylor swift’s style video set to…\u003c/a>\u003c/div>\n\u003cp>Maybe you’ve already seen \u003ca href=\"http://ww2.kqed.org/pop/2015/04/21/taylor-swift-set-to-lana-del-rey-is-the-new-wizard-of-oz-set-to-pink-floyd/\">this mashup on KQED Pop\u003c/a> or on \u003cem>\u003ca href=\"https://www.billboard.com/articles/columns/pop-shop/6538896/taylor-swift-lana-del-rey-style-video-summertime-sadness\">Billboard\u003c/a>\u003c/em> or \u003ca href=\"http://www.nylon.com/articles/taylor-swift-lana-del-rey-style-summertime-sadness-video\">\u003cem>Nylon\u003c/em>\u003c/a>. If not, here’s the deal: Taylor Swift’s music video for her upbeat song “Style” was anything but, more Lana del Rey moodiness than happy-go-lucky. \u003ca href=\"https://vimeo.com/88007652\">I couldn’t help but wonder\u003c/a>: What would happen if I put “Summertime Sadness” over the music video? The result: two works of art that coincidentally play off each other really well, à la Pink Floyd’s \u003cem>The Dark Side of the Moon\u003c/em> and \u003cem>Wizard of Oz\u003c/em>. I can’t stop watching it, not because I made it, but because it makes me feel things. I also can’t stop cracking up while reading \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/04/tumblr-comments-taylor-swift.jpg\">the hilarious comments on Tumblr\u003c/a>, like when one user said “God has spoken” and another replied “This transcended God tho.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>The Jinx\u003c/em>‘s Opening Credits\u003c/h2>\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/-VTa8-M1DEI'\n title='//www.youtube.com/embed/-VTa8-M1DEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Seriously, when did television title sequences get so good? TV is now stuffed with the kind of imaginative openings that movies have used for decades, and the \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=-VTa8-M1DEI\">strikingly creepy \u003c/a>opening credits\u003c/span> of HBO’s true-crime saga \u003ci>The Jinx\u003c/i> are some of the best, not least because of the music. On first listen, I thought this song was a bizarre cover of Bruce Springsteen’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=nU5MyNuBdhg\">State Trooper\u003c/a>” \u003c/span>because of the virtually identical \u003ci>HOWL! \u003c/i>that \u003ca href=\"https://youtu.be/-VTa8-M1DEI?t=41s\">\u003cspan class=\"s1\">suddenly bursts forth\u003c/span>\u003c/a> amid the falsetto and grungy guitars. But no, it’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=K4Qp1TEKswQ\">Fresh Blood\u003c/a>’\u003c/span> by Eels, a band I literally haven’t thought about since the days of their hit song “\u003ca href=\"https://www.youtube.com/watch?v=qNeqS8DE5i8\">\u003cspan class=\"s1\">Beautiful Freak\u003c/span>\u003c/a>.” As a title theme, it’s as instantly iconic as any of \u003ci>The Wire\u003c/i>’s \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=jR9_wbTrInI\">multiple versions of “Way Down in the Hole\u003c/a>’\u003c/span> — and like Pavlov’s other, more crime-obsessed dog, I start salivating for my next dose of televisual intrigue whenever I hear it. Howl, indeed!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Heartbreaker (Remix)”: A Feminist Anthem from the ’90s?\u003c/h2>\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/PyjuUu_XDZ8'\n title='//www.youtube.com/embed/PyjuUu_XDZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My new favorite radio station (besides KQED, obvi) is 102.1, which specializes in hip-hop throwbacks. They recently played a DJ set in which Snoop Dogg’s “It Ain’t No Fun” and Mariah Carey’s “Heartbreaker (Remix)” were mashed up, and I realized that Mariah’s ’99 hit was a feminist response to the highly offensive Snoop track from ’93. It makes me cringe knowing I screamed Snoop’s derogatory lyrics while riding around in my friends’ cars in high school.\u003c/p>\n\u003cp>A few years after Snoop released his song, Mariah teamed up with Da Brat and Missy Elliot to not only sample that Snoop song, but revise the original lyrics as a counterpoint to the misogyny of Snoop and his collaborators. Snoop appears in the video, so the call-and-response game wasn’t exactly contentious. Da Brat and Snoop dress up like a bride and groom, and he hangs his head while she takes him down a few pegs, spitting her appropriated lyrics in his face, providing a female perspective on the demeaning story told in his original hit.\u003c/p>\n\u003cp>Throughout the video, Mariah is writhing around in a metallic bikini per usual, and she even washes Snoop’s car while wearing booty shorts, so I’m not saying this was a breakthrough for gender equality or turning the tables towards matriarchy, but I enjoyed the reminder of how Mariah, Da Brat and Missy Elliot officially put Snoop and his collaborators on notice, way back in the last century.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Earth Day 2015: Everything I Know About Environmentalism I Learned From Salute Your Shorts",
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"content": "\u003cp>On a recent trip back East to visit my family, I made them buy a huge recycling bin and educated them on the importance of not throwing styrofoam containers out of the car window on the highway (no, really) and instead treating our planet with respect. Sure, living in San Francisco for almost nine years has definitely turned me into more of a hippie than I was upon arrival (I chant in yoga and have been known to keep browning banana skins and other organic detritus in my bag until I can deposit them in my compost bin at home), but the foundation of my Mother Earth-loving self was not born here, but in front of Nickelodeon in the early '90s.\u003c/p>\n\u003cfigure id=\"attachment_4085\" class=\"wp-caption alignright\" style=\"max-width: 442px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/04/22/earth-day-everything-i-know-i-learned-from-salute-your-shorts/screen-shot-2013-04-22-at-6-40-16-am/\" rel=\"attachment wp-att-4085\">\u003cimg class=\"wp-image-4085\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM.png\" alt=\"zz ziff\" width=\"442\" height=\"286\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM.png 632w, https://ww2.kqed.org/app/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM-400x258.png 400w\" sizes=\"(max-width: 442px) 100vw, 442px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Z.Z. Ziff and her signature Earth earrings. Photo: Nickelodeon\u003c/figcaption>\u003c/figure>\n\u003cp>That's where I met Z.Z. Ziff of \u003cem>Salute Your Shorts\u003c/em>, a short-lived show about various trouble-making teens and their obnoxious counselor \"Ug\" at a summer camp called Camp Anawanna. There was the ginger bully and his dim sidekick, the All-American boy, the geek, the prima donna, the sporty girl, \u003ca href=\"http://www.millionaireplayboy.com/mpb/index.php/salute-your-shorts-week-where-are-they-now-blake-soper/\">a Rilo Kiley member\u003c/a>, and, last but certainly not least, the animal-loving, tree-hugging environmentalist. While the other kids were giving into greed or jealousy or whatever other silly thing middle schoolers are into, Z.Z., with her Earth earrings and naive idealism was always the voice of reason.\u003c/p>\n\u003cp>And never moreso than in the season one finale, \"Environmental Party,\" in which she attempts to educate her peers about the irreparable damage humans are doing to our fragile planet. At first, she goes the enraged activist route, shutting off the power and water to send a message to her blow-drying, long-shower-taking room mates. She also turns their room into a recycling center. This does not go over well and she is asked: \"Are you out of your granola-munching, whole-wheat, tie-dyed save-the-planet mind?!\" Um, rude!\u003c/p>\n\u003cp>Z.Z.'s second approach is better: a catchy song about environmentalism! Sample lyric: \"If we don't change the way we live, we'll be covered in PUKE AND ROTTING GARBAGE! IT'S ALL YOUR FAULT!!!\" Despite being the best thing ever written (sorry, Marcel Proust), the kids think she's insane and end up food-fighting and moshing 'cause why the hell not?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DGWna3OIuuU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, with the help of a Greek trash collector so stereotypical that his last name is \u003ca href=\"https://www.google.com/search?q=spanakopita&rlz=1C5CHFA_enUS503US503&source=lnms&tbm=isch&sa=X&ei=oj91UYSLK6LhiAKSvoGgCA&ved=0CAoQ_AUoAQ&biw=1680&bih=854\">Spanakopita\u003c/a> and he randomly exclaims Opa! for no reason (Tourette's?), Z.Z. gets through to her friends by informing them that they can actually make money from recycling! Being Americans, they respond well to this and, after some soul-searching, come to realize that Z.Z. is not crazy just because she cares about something.\u003c/p>\n\u003cp>So, in honor of Earth Day, consider shedding your litter bug ways and being more like Z.Z. Ziff. If you happen to write an enraged compost-related song, please send it to me so it can keep \"Puke and Rotting Garbage\" company on my Love Me Some Gaia playlist. Oh, and \u003ca href=\"http://veehd.com/video/3246420_Salute-Your-Shorts-1x13-FINALE-Environmental-Party\">you can watch this entire life-defining episode here\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"http://ww2.kqed.org/pop/2013/04/22/earth-day-everything-i-know-i-learned-from-salute-your-shorts/\">originally published in 2013\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent trip back East to visit my family, I made them buy a huge recycling bin and educated them on the importance of not throwing styrofoam containers out of the car window on the highway (no, really) and instead treating our planet with respect. Sure, living in San Francisco for almost nine years has definitely turned me into more of a hippie than I was upon arrival (I chant in yoga and have been known to keep browning banana skins and other organic detritus in my bag until I can deposit them in my compost bin at home), but the foundation of my Mother Earth-loving self was not born here, but in front of Nickelodeon in the early '90s.\u003c/p>\n\u003cfigure id=\"attachment_4085\" class=\"wp-caption alignright\" style=\"max-width: 442px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/04/22/earth-day-everything-i-know-i-learned-from-salute-your-shorts/screen-shot-2013-04-22-at-6-40-16-am/\" rel=\"attachment wp-att-4085\">\u003cimg class=\"wp-image-4085\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM.png\" alt=\"zz ziff\" width=\"442\" height=\"286\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM.png 632w, https://ww2.kqed.org/app/uploads/sites/12/2013/04/Screen-shot-2013-04-22-at-6.40.16-AM-400x258.png 400w\" sizes=\"(max-width: 442px) 100vw, 442px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Z.Z. Ziff and her signature Earth earrings. Photo: Nickelodeon\u003c/figcaption>\u003c/figure>\n\u003cp>That's where I met Z.Z. Ziff of \u003cem>Salute Your Shorts\u003c/em>, a short-lived show about various trouble-making teens and their obnoxious counselor \"Ug\" at a summer camp called Camp Anawanna. There was the ginger bully and his dim sidekick, the All-American boy, the geek, the prima donna, the sporty girl, \u003ca href=\"http://www.millionaireplayboy.com/mpb/index.php/salute-your-shorts-week-where-are-they-now-blake-soper/\">a Rilo Kiley member\u003c/a>, and, last but certainly not least, the animal-loving, tree-hugging environmentalist. While the other kids were giving into greed or jealousy or whatever other silly thing middle schoolers are into, Z.Z., with her Earth earrings and naive idealism was always the voice of reason.\u003c/p>\n\u003cp>And never moreso than in the season one finale, \"Environmental Party,\" in which she attempts to educate her peers about the irreparable damage humans are doing to our fragile planet. At first, she goes the enraged activist route, shutting off the power and water to send a message to her blow-drying, long-shower-taking room mates. She also turns their room into a recycling center. This does not go over well and she is asked: \"Are you out of your granola-munching, whole-wheat, tie-dyed save-the-planet mind?!\" Um, rude!\u003c/p>\n\u003cp>Z.Z.'s second approach is better: a catchy song about environmentalism! Sample lyric: \"If we don't change the way we live, we'll be covered in PUKE AND ROTTING GARBAGE! IT'S ALL YOUR FAULT!!!\" Despite being the best thing ever written (sorry, Marcel Proust), the kids think she's insane and end up food-fighting and moshing 'cause why the hell not?\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/DGWna3OIuuU'\n title='//www.youtube.com/embed/DGWna3OIuuU'\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>Eventually, with the help of a Greek trash collector so stereotypical that his last name is \u003ca href=\"https://www.google.com/search?q=spanakopita&rlz=1C5CHFA_enUS503US503&source=lnms&tbm=isch&sa=X&ei=oj91UYSLK6LhiAKSvoGgCA&ved=0CAoQ_AUoAQ&biw=1680&bih=854\">Spanakopita\u003c/a> and he randomly exclaims Opa! for no reason (Tourette's?), Z.Z. gets through to her friends by informing them that they can actually make money from recycling! Being Americans, they respond well to this and, after some soul-searching, come to realize that Z.Z. is not crazy just because she cares about something.\u003c/p>\n\u003cp>So, in honor of Earth Day, consider shedding your litter bug ways and being more like Z.Z. Ziff. If you happen to write an enraged compost-related song, please send it to me so it can keep \"Puke and Rotting Garbage\" company on my Love Me Some Gaia playlist. Oh, and \u003ca href=\"http://veehd.com/video/3246420_Salute-Your-Shorts-1x13-FINALE-Environmental-Party\">you can watch this entire life-defining episode here\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"http://ww2.kqed.org/pop/2013/04/22/earth-day-everything-i-know-i-learned-from-salute-your-shorts/\">originally published in 2013\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Sizzler commercial from the ’90s, an outer-space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer, and more!\u003c/p>\n\u003cfigure id=\"attachment_10563172\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563172 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"emma silvers\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/esilvers/\">Emma Silvers\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Sizzler Commercial from the ’90s\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=E3YGtQ40Qvs\u003c/p>\n\u003cp>This Sizzler commercial from 1991, which recently resurfaced thanks to the magic of the internets, is truly a triumph of advertising. For one, it’s four and a half minutes long. Was that a thing people used to have the attention span for? Second, between the smooth sax music and the soft-focus shots of what appear to be semi-sedated pod people enjoying patriotic activities like jogging, playing with dogs, riding carousels and dating sailors, this thing reads more like a political campaign ad or a Cialis commercial than a spot for a surf-and-turf/salad bar buffet. I’d also like to shake the hand of whoever wrote this song, windchimes and all. “Choices and selections / choices of directions / choices that can add a little freedom in your life!” Hillary, are you paying attention? Democracy is the best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Leah Rosenberg’s Chromophilia\u003c/h2>\n\u003cfigure id=\"attachment_10565205\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10565205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg\" alt=\"Photo: Leah Rosenberg\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow.jpeg 1936w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.leahrosenberg.com/\">Leah Rosenberg\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a>, a new storefront residency in the Outer Sunset run by artist Kelly Inouye, is currently occupied by \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, an artist and pastry chef with “an affinity for color, stripes, paint and the arrangement of things.” Rosenberg’s project, \u003ci>Everyday, a color\u003c/i>, is just that. Every day for her three months in residence, she selects a color inspired by the neighborhood and layers that color over two walls, a square of floor, a table, vase, chair and notebook. The effect is a delightful and continually-changing monotone tableau. As the layers build, the paint takes on physical substance. Already, thick paint icicles dangle from the table’s edges. So far, color choices have included “ocean mist,” “purple crab,” “aqua VW,” “Converse shoe,” and “mint graffiti.” You can stop by most weekdays, 12-5pm, and find Rosenberg in the space through May 30. Lend a hand with a roller, talk color with a undeniable expert and consider repainting your own space the rosy hue of “happy hour.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Space Quilt from the 1800s\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"525\" class=\"aligncenter wp-image-10565334\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png\" alt=\"Screen shot 2015-04-16 at 11.30.50 AM\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-400x332.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-320x266.png 320w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003c/p>\n\u003cp>Since I can remember, I’ve always been obsessed with space. Some nights, I stop in the middle of the sidewalk \u003ca href=\"http://33.media.tumblr.com/49656af8b8f952fc6d43f72f3ba899f4/tumblr_mzl6ikrL7q1qb4m0io1_250.gif\">to gawk at the moon\u003c/a>. Once, a man asked if I was all right. \u003cem>Yes, I am, and would you look at that! It’s just crazy how it controls our oceans and the water inside of us too! \u003c/em>He didn’t think it was that crazy. But there are other outer-space fanatics who get it, like Ellen Harding Baker of Cedar County, Iowa. She made \u003ca href=\"http://historyexplorer.si.edu/resource/?key=5146&lp=artifacts\">this killer quilt\u003c/a> way back in 1876 and used it as a visual aid in lectures she gave on astronomy. Over a century later, her out-of-this-world handiwork is \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_556183\" target=\"_blank\" rel=\"noopener\">in a collection at the Smithsonian\u003c/a>. And while we’re on the topic of planets and what not, you should read \u003ca href=\"http://www.newyorker.com/magazine/2015/04/20/moving-to-mars\">this piece in the \u003cem>New Yorker\u003c/em>\u003c/a> that likens Mars exploration to 19th century polar expeditions. </geek out>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The MTV Movie Awards Set\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10563163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg\" alt=\"JuxtapozDabsMyla05\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All I know about last Sunday’s MTV Movie Awards is that some bold, happy artwork was framing the whole situation. The entire stage and even the golden popcorn award statues were the work of prolific Australian artist duo Dabs Myla, who are headquartered in Los Angeles. From gallery shows to designs for big brands, they work nonstop. Having met them, I can say they’re the closest you’ll ever get to meeting cartoon characters in real life, and their art reflects their personalities perfectly. I’ve seen them paint 100-foot walls and build special immersive installations at \u003ca href=\"http://ww2.kqed.org/arts/2013/08/27/dabsmyla_san_francisco_is_for_lovers/\">local venues\u003c/a> like it was an easy day’s work. It was really cool to see their imaginative world of characters on this mega-massive scale. As far as I’m concerned, Dabs and Myla were the biggest celebrities of that awards show and MTV is relevant again. See more photos and an interview with the artists over at \u003ca href=\"http://www.juxtapoz.com/current/in-the-magazine-dabs-myla\">Juxtapoz\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Crazy Jewish Mom\u003c/h2>\n\u003cfigure id=\"attachment_10563037\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10563037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg\" alt=\"Photo: Crazy Jewish Mom\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">I’m the parent of two children and, though they’re far from being oversensitive teenagers (my daughter is 3 and my son is 6 weeks), I’m already preparing myself for what will inevitably be my shunning as they grow older. One of the benefits of being a parent is the right to harass your children, driving them nuts in harmless ways, just like my parents did to me. If your kids are teens and they’re not telling you to “like totally quit it” on a regular basis, you’re doing something wrong.\u003c/p>\n\u003cp>This is why I love \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>. Beyond the great jokes with Jewish themes—“SPAWN SERIOUSLY Easy on the Wine… Save some for Elijah”—what’s being documented is a mother-daughter relationship that anyone can appreciate. The references to her daughter as “spawn,” the boyfriend-hunting even when her girl isn’t single, the constant reminders that she needs to do kegels… It would be maddening for anyone, but it’s also the sign of a loving (and hilarious) relationship. I’m looking forward to my own version of that. Until then, I’ll soak up the fact that my daughter runs to hug me every day I come home from work.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The \u003cem>True Detective\u003c/em> Season 2 Trailer\u003c/h2>\n\u003cp>https://youtu.be/4OfU7CGY5DQ\u003c/p>\n\u003cp class=\"p1\">Like many humans, I fell headlong in love with \u003ci>True Detective\u003c/i> last year—its bayou horror, its \u003ca href=\"https://www.youtube.com/watch?v=v3WBsOsdzis\">\u003cspan class=\"s1\">stonking soundtrack\u003c/span>\u003c/a> and the opportunity it provided me to crow over the fact that I predicted what is now officially termed \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\">\u003cspan class=\"s1\">the McConnaissance\u003c/span>\u003c/a>™ back in 2011 after watching \u003ca href=\"http://www.imdb.com/title/tt1189340/\">\u003cspan class=\"s1\">\u003ci>The Lincoln Lawyer\u003c/i>\u003c/span>\u003c/a>. In the interim, I developed the sneaking suspicion that \u003ci>True Detective \u003c/i>wasn’t actually as good as I thought it was and adjusted my Season 2 expectations accordingly. But in my wildest dreams, I never thought it could look \u003ci>this \u003c/i>bad.\u003c/p>\n\u003cp class=\"p1\">Seriously,\u003ci> \u003c/i>\u003ca href=\"https://youtu.be/4OfU7CGY5DQ\">\u003cspan class=\"s1\">what is this trailer\u003c/span>\u003c/a>? Why is this awful ballad playing? What acting style is Vince Vaughn quite literally straining for? Why is Colin Farrell a) sporting a mustache the size of a bobcat and b) \u003ci>weeping in every scene\u003c/i>? I haven’t even mentioned the total absence of dialogue that suggests the makers of this trailer somehow couldn’t get the rights to their own show. The whole mess makes me think that Season 2 will just embody the worst excesses of the first \u003ci>True Detective,\u003c/i> so here’s looking forward to endless conversations in dark bars, detectives with imploding marriages furrowing their brows over archive newspaper cuttings in basements, and at \u003ci>least \u003c/i>one visit to a strip club to track down a reluctant witness. And you know what? I WILL WATCH EVERY EPISODE.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over a Sizzler commercial from the '90s, a space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Sizzler commercial from the ’90s, an outer-space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer, and more!\u003c/p>\n\u003cfigure id=\"attachment_10563172\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563172 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"emma silvers\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/esilvers/\">Emma Silvers\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Sizzler Commercial from the ’90s\u003c/h2>\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/E3YGtQ40Qvs'\n title='//www.youtube.com/embed/E3YGtQ40Qvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Sizzler commercial from 1991, which recently resurfaced thanks to the magic of the internets, is truly a triumph of advertising. For one, it’s four and a half minutes long. Was that a thing people used to have the attention span for? Second, between the smooth sax music and the soft-focus shots of what appear to be semi-sedated pod people enjoying patriotic activities like jogging, playing with dogs, riding carousels and dating sailors, this thing reads more like a political campaign ad or a Cialis commercial than a spot for a surf-and-turf/salad bar buffet. I’d also like to shake the hand of whoever wrote this song, windchimes and all. “Choices and selections / choices of directions / choices that can add a little freedom in your life!” Hillary, are you paying attention? Democracy is the best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Leah Rosenberg’s Chromophilia\u003c/h2>\n\u003cfigure id=\"attachment_10565205\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10565205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg\" alt=\"Photo: Leah Rosenberg\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow.jpeg 1936w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.leahrosenberg.com/\">Leah Rosenberg\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a>, a new storefront residency in the Outer Sunset run by artist Kelly Inouye, is currently occupied by \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, an artist and pastry chef with “an affinity for color, stripes, paint and the arrangement of things.” Rosenberg’s project, \u003ci>Everyday, a color\u003c/i>, is just that. Every day for her three months in residence, she selects a color inspired by the neighborhood and layers that color over two walls, a square of floor, a table, vase, chair and notebook. The effect is a delightful and continually-changing monotone tableau. As the layers build, the paint takes on physical substance. Already, thick paint icicles dangle from the table’s edges. So far, color choices have included “ocean mist,” “purple crab,” “aqua VW,” “Converse shoe,” and “mint graffiti.” You can stop by most weekdays, 12-5pm, and find Rosenberg in the space through May 30. Lend a hand with a roller, talk color with a undeniable expert and consider repainting your own space the rosy hue of “happy hour.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Space Quilt from the 1800s\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"525\" class=\"aligncenter wp-image-10565334\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png\" alt=\"Screen shot 2015-04-16 at 11.30.50 AM\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-400x332.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-320x266.png 320w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003c/p>\n\u003cp>Since I can remember, I’ve always been obsessed with space. Some nights, I stop in the middle of the sidewalk \u003ca href=\"http://33.media.tumblr.com/49656af8b8f952fc6d43f72f3ba899f4/tumblr_mzl6ikrL7q1qb4m0io1_250.gif\">to gawk at the moon\u003c/a>. Once, a man asked if I was all right. \u003cem>Yes, I am, and would you look at that! It’s just crazy how it controls our oceans and the water inside of us too! \u003c/em>He didn’t think it was that crazy. But there are other outer-space fanatics who get it, like Ellen Harding Baker of Cedar County, Iowa. She made \u003ca href=\"http://historyexplorer.si.edu/resource/?key=5146&lp=artifacts\">this killer quilt\u003c/a> way back in 1876 and used it as a visual aid in lectures she gave on astronomy. Over a century later, her out-of-this-world handiwork is \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_556183\" target=\"_blank\" rel=\"noopener\">in a collection at the Smithsonian\u003c/a>. And while we’re on the topic of planets and what not, you should read \u003ca href=\"http://www.newyorker.com/magazine/2015/04/20/moving-to-mars\">this piece in the \u003cem>New Yorker\u003c/em>\u003c/a> that likens Mars exploration to 19th century polar expeditions. </geek out>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The MTV Movie Awards Set\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10563163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg\" alt=\"JuxtapozDabsMyla05\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All I know about last Sunday’s MTV Movie Awards is that some bold, happy artwork was framing the whole situation. The entire stage and even the golden popcorn award statues were the work of prolific Australian artist duo Dabs Myla, who are headquartered in Los Angeles. From gallery shows to designs for big brands, they work nonstop. Having met them, I can say they’re the closest you’ll ever get to meeting cartoon characters in real life, and their art reflects their personalities perfectly. I’ve seen them paint 100-foot walls and build special immersive installations at \u003ca href=\"http://ww2.kqed.org/arts/2013/08/27/dabsmyla_san_francisco_is_for_lovers/\">local venues\u003c/a> like it was an easy day’s work. It was really cool to see their imaginative world of characters on this mega-massive scale. As far as I’m concerned, Dabs and Myla were the biggest celebrities of that awards show and MTV is relevant again. See more photos and an interview with the artists over at \u003ca href=\"http://www.juxtapoz.com/current/in-the-magazine-dabs-myla\">Juxtapoz\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Crazy Jewish Mom\u003c/h2>\n\u003cfigure id=\"attachment_10563037\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10563037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg\" alt=\"Photo: Crazy Jewish Mom\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">I’m the parent of two children and, though they’re far from being oversensitive teenagers (my daughter is 3 and my son is 6 weeks), I’m already preparing myself for what will inevitably be my shunning as they grow older. One of the benefits of being a parent is the right to harass your children, driving them nuts in harmless ways, just like my parents did to me. If your kids are teens and they’re not telling you to “like totally quit it” on a regular basis, you’re doing something wrong.\u003c/p>\n\u003cp>This is why I love \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>. Beyond the great jokes with Jewish themes—“SPAWN SERIOUSLY Easy on the Wine… Save some for Elijah”—what’s being documented is a mother-daughter relationship that anyone can appreciate. The references to her daughter as “spawn,” the boyfriend-hunting even when her girl isn’t single, the constant reminders that she needs to do kegels… It would be maddening for anyone, but it’s also the sign of a loving (and hilarious) relationship. I’m looking forward to my own version of that. Until then, I’ll soak up the fact that my daughter runs to hug me every day I come home from work.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The \u003cem>True Detective\u003c/em> Season 2 Trailer\u003c/h2>\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/4OfU7CGY5DQ'\n title='//www.youtube.com/embed/4OfU7CGY5DQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Like many humans, I fell headlong in love with \u003ci>True Detective\u003c/i> last year—its bayou horror, its \u003ca href=\"https://www.youtube.com/watch?v=v3WBsOsdzis\">\u003cspan class=\"s1\">stonking soundtrack\u003c/span>\u003c/a> and the opportunity it provided me to crow over the fact that I predicted what is now officially termed \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\">\u003cspan class=\"s1\">the McConnaissance\u003c/span>\u003c/a>™ back in 2011 after watching \u003ca href=\"http://www.imdb.com/title/tt1189340/\">\u003cspan class=\"s1\">\u003ci>The Lincoln Lawyer\u003c/i>\u003c/span>\u003c/a>. In the interim, I developed the sneaking suspicion that \u003ci>True Detective \u003c/i>wasn’t actually as good as I thought it was and adjusted my Season 2 expectations accordingly. But in my wildest dreams, I never thought it could look \u003ci>this \u003c/i>bad.\u003c/p>\n\u003cp class=\"p1\">Seriously,\u003ci> \u003c/i>\u003ca href=\"https://youtu.be/4OfU7CGY5DQ\">\u003cspan class=\"s1\">what is this trailer\u003c/span>\u003c/a>? Why is this awful ballad playing? What acting style is Vince Vaughn quite literally straining for? Why is Colin Farrell a) sporting a mustache the size of a bobcat and b) \u003ci>weeping in every scene\u003c/i>? I haven’t even mentioned the total absence of dialogue that suggests the makers of this trailer somehow couldn’t get the rights to their own show. The whole mess makes me think that Season 2 will just embody the worst excesses of the first \u003ci>True Detective,\u003c/i> so here’s looking forward to endless conversations in dark bars, detectives with imploding marriages furrowing their brows over archive newspaper cuttings in basements, and at \u003ci>least \u003c/i>one visit to a strip club to track down a reluctant witness. And you know what? I WILL WATCH EVERY EPISODE.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a fake soul band, a hummingbird, Timothy Olyphant, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Milky Edwards and the Chamberlings\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=LvXLuYXPL94\u003c/p>\n\u003cp class=\"p1\">I love David Bowie. Not only do I have a Ziggy Stardust tattoo, I’ve spent many hours pushing my vocal chords to the brink, trying to hit the high notes on “Life on Mars.” I also love ’60s soul music, which was the soundtrack to my wedding reception. So when someone posted the Milky Edwards version of “Moonage Daydream” on Facebook, it was like discovering manna from heaven.\u003c/p>\n\u003cp class=\"p1\">At the time, I was starving for music to be excited about, so imagine my disappointment when I discovered that there were only three songs posted on YouTube! As a matter of fact, there’s no proof of the band ever existing, and there are many reasons to believe \u003ca href=\"http://www.theguardian.com/music/musicblog/2013/sep/26/milky-edwards-chamberlings-ziggy-stardust-david-bowie-hoax\">it’s a hoax\u003c/a>. Still, it’s quite an elaborate hoax, and personally, I don’t care if the band never existed. I just want more soul bands doing Bowie covers — or at least for Milky Edwards to do a version of “Suffragette City.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Timothy Olyphant’s Nerdist episode\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg\" alt=\"JUSTIFIED: Timothy Olyphant as Raylan Givens. CR: Frank Ockenfels III / FX\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">To anyone that’s known me for more than a minute (or just had the misfortune of engaging me on public transit), my longstanding crush on \u003ci>Justified \u003c/i>actor Timothy Olyphant is no secret. But even if you don’t share my “preoccupation,” this episode he recorded for the Nerdist podcast is still a total treat. The main attraction: so\u003ci> \u003c/i>many disarmingly frank (and unexpectedly wise) stories about the reality of being an actor in Hollywood. He talks about his need to make certified mind-rotter \u003ci>Hitman \u003c/i>to pay the bills after the sudden cancellation of HBO’s \u003ci>Deadwood\u003c/i>, which\u003ci> \u003c/i>coincided with his family’s purchase of a new house. Seriously, when was the last time you heard a movie star talking about mortgage anxiety?\u003c/p>\n\u003cp class=\"p1\">And if you’re \u003ci>also\u003c/i> obsessed with that much-missed TV masterpiece, the anecdotes from the \u003ci>Deadwood \u003c/i>set—including creator David Milch’s decision to kill off a child character because the young actor’s mother was being irritating—are just the best. If you’re not a little in love with Olyphant after listening to the hour and then some of this episode, I do \u003ci>not\u003c/i> want to hear about it.\u003ca href=\"https://nerdist.com/nerdist-podcast-timothy-olyphant/\"> Listen now!\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10546161\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10546161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lakshmi Eassey\u003c/i>\u003cbr> Intern Extraordinaire, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Yuna’s Frank Ocean Cover\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=nm5yyimKo4E\u003c/p>\n\u003cp class=\"p1\">I love Frank Ocean and I love Yuna, so it should come as no surprise that I can’t stop listening to Yuna’s cover of Frank Ocean’s “Thinkin Bout You.” It’s from 2012, but I stumbled upon it it while doing some research on Yuna for \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">The Do List\u003c/a> (\u003ca href=\"http://www.yunamusic.com/tour/\">she’ll be in the Bay Area in May\u003c/a>). The video is recorded and shot at her home in L.A.; the song is from Frank Ocean’s debut solo album, \u003cem>Channel Orange\u003c/em>. The cover doesn’t speak to a lingering longing that reminds me of a special someone like the old school songs of K-Ci and JoJo, but with lyrics like “I don’t like you, I just thought you were cool enough to kick it” and Yuna’s sweet delivery and sweeter hair wrap, all I can think is \u003cem>damn, she’s cool enough to kick it\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Hummingbird\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hummingbird-800x547.jpeg\" alt=\"Hummingbird\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-400x274.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-320x219.jpeg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not every day one gets to hold a baby hummingbird, but after discovering this small, beautiful bird right in front of KQED, what other choice did we have? The poor creature lay there immobile, directly in the path of foot traffic, so my coworker Kevin Jones gently picked it up. It tried, and failed, to fly, while I looked up San Francisco Animal Care and Control. Turns out it was only three blocks away! Hence, the uncommon sight of two public media employees carrying a tiny colorful hummingbird down Bryant Street and over to “\u003ca href=\"http://en.wikipedia.org/wiki/Rescue_Row\" target=\"_blank\" rel=\"noopener\">Rescue Row\u003c/a>.”\u003c/p>\n\u003cp>Luckily, Animal Care and Control assured us that it could take the bird, and that it wasn’t injured — just young and inexperienced at flight. To celebrate, our little friend suddenly took to the air, flew around the lobby a little bit, hovered near the counter and even tried to stick its long, needlelike beak into a receptionist’s ear. Hooray! All will be well. Adieu, little buddy…and thanks, \u003ca href=\"//www.sfgov2.org/index.aspx?page=942%E2%80%9D\">San Francisco Animal Care and Control\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“One Sweet Day”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UXxRyNvTPr8\u003c/p>\n\u003cp>Earlier this week, \u003cem>The Bold Italic\u003c/em> announced they were shutting down. I ended my\u003ca href=\"http://ww2.kqed.org/pop/2015/04/07/the-bold-italic-suddenly-calls-it-quits-bay-area-goes-huh/\"> KQED Pop post about the news\u003c/a> with this music video for Mariah Carey and Boyz II Men’s 1995 monster hit “One Sweet Day,” a song about the dearly departed. This has led me to listen to it at least 20 times over the past two days. Why, you ask? Because it captures the spirit of ’90s pop and R&B perfectly, plus the video features the braces of one of the Boyz II Men members and Mariah wearing Converse.\u003c/p>\n\u003cp>It’s not just me; history supports my obsession with this song. Did you know that it spent 16 weeks at the top of the charts and still holds the record for the longest running number one song in Billboard history? Mark Ronson & Bruno Mars’ “Uptown Funk” (ugh, make it stop!) just tied Mariah’s “We Belong Together” and Boyz II Men’s “I’ll Make Love To You” for second place with 14 weeks. I whitehousepetition.org you to stop listening to “Uptown Funk” immediately and start listening to “One Sweet Day” again. It’s the only way to keep things right in the world.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over a fake soul band, a hummingbird, Timothy Olyphant, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a fake soul band, a hummingbird, Timothy Olyphant, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Milky Edwards and the Chamberlings\u003c/h2>\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/LvXLuYXPL94'\n title='//www.youtube.com/embed/LvXLuYXPL94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I love David Bowie. Not only do I have a Ziggy Stardust tattoo, I’ve spent many hours pushing my vocal chords to the brink, trying to hit the high notes on “Life on Mars.” I also love ’60s soul music, which was the soundtrack to my wedding reception. So when someone posted the Milky Edwards version of “Moonage Daydream” on Facebook, it was like discovering manna from heaven.\u003c/p>\n\u003cp class=\"p1\">At the time, I was starving for music to be excited about, so imagine my disappointment when I discovered that there were only three songs posted on YouTube! As a matter of fact, there’s no proof of the band ever existing, and there are many reasons to believe \u003ca href=\"http://www.theguardian.com/music/musicblog/2013/sep/26/milky-edwards-chamberlings-ziggy-stardust-david-bowie-hoax\">it’s a hoax\u003c/a>. Still, it’s quite an elaborate hoax, and personally, I don’t care if the band never existed. I just want more soul bands doing Bowie covers — or at least for Milky Edwards to do a version of “Suffragette City.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Timothy Olyphant’s Nerdist episode\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg\" alt=\"JUSTIFIED: Timothy Olyphant as Raylan Givens. CR: Frank Ockenfels III / FX\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">To anyone that’s known me for more than a minute (or just had the misfortune of engaging me on public transit), my longstanding crush on \u003ci>Justified \u003c/i>actor Timothy Olyphant is no secret. But even if you don’t share my “preoccupation,” this episode he recorded for the Nerdist podcast is still a total treat. The main attraction: so\u003ci> \u003c/i>many disarmingly frank (and unexpectedly wise) stories about the reality of being an actor in Hollywood. He talks about his need to make certified mind-rotter \u003ci>Hitman \u003c/i>to pay the bills after the sudden cancellation of HBO’s \u003ci>Deadwood\u003c/i>, which\u003ci> \u003c/i>coincided with his family’s purchase of a new house. Seriously, when was the last time you heard a movie star talking about mortgage anxiety?\u003c/p>\n\u003cp class=\"p1\">And if you’re \u003ci>also\u003c/i> obsessed with that much-missed TV masterpiece, the anecdotes from the \u003ci>Deadwood \u003c/i>set—including creator David Milch’s decision to kill off a child character because the young actor’s mother was being irritating—are just the best. If you’re not a little in love with Olyphant after listening to the hour and then some of this episode, I do \u003ci>not\u003c/i> want to hear about it.\u003ca href=\"https://nerdist.com/nerdist-podcast-timothy-olyphant/\"> Listen now!\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10546161\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10546161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lakshmi Eassey\u003c/i>\u003cbr> Intern Extraordinaire, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Yuna’s Frank Ocean Cover\u003c/h2>\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/nm5yyimKo4E'\n title='//www.youtube.com/embed/nm5yyimKo4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I love Frank Ocean and I love Yuna, so it should come as no surprise that I can’t stop listening to Yuna’s cover of Frank Ocean’s “Thinkin Bout You.” It’s from 2012, but I stumbled upon it it while doing some research on Yuna for \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">The Do List\u003c/a> (\u003ca href=\"http://www.yunamusic.com/tour/\">she’ll be in the Bay Area in May\u003c/a>). The video is recorded and shot at her home in L.A.; the song is from Frank Ocean’s debut solo album, \u003cem>Channel Orange\u003c/em>. The cover doesn’t speak to a lingering longing that reminds me of a special someone like the old school songs of K-Ci and JoJo, but with lyrics like “I don’t like you, I just thought you were cool enough to kick it” and Yuna’s sweet delivery and sweeter hair wrap, all I can think is \u003cem>damn, she’s cool enough to kick it\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Hummingbird\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hummingbird-800x547.jpeg\" alt=\"Hummingbird\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-400x274.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-320x219.jpeg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not every day one gets to hold a baby hummingbird, but after discovering this small, beautiful bird right in front of KQED, what other choice did we have? The poor creature lay there immobile, directly in the path of foot traffic, so my coworker Kevin Jones gently picked it up. It tried, and failed, to fly, while I looked up San Francisco Animal Care and Control. Turns out it was only three blocks away! Hence, the uncommon sight of two public media employees carrying a tiny colorful hummingbird down Bryant Street and over to “\u003ca href=\"http://en.wikipedia.org/wiki/Rescue_Row\" target=\"_blank\" rel=\"noopener\">Rescue Row\u003c/a>.”\u003c/p>\n\u003cp>Luckily, Animal Care and Control assured us that it could take the bird, and that it wasn’t injured — just young and inexperienced at flight. To celebrate, our little friend suddenly took to the air, flew around the lobby a little bit, hovered near the counter and even tried to stick its long, needlelike beak into a receptionist’s ear. Hooray! All will be well. Adieu, little buddy…and thanks, \u003ca href=\"//www.sfgov2.org/index.aspx?page=942%E2%80%9D\">San Francisco Animal Care and Control\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“One Sweet Day”\u003c/h2>\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/UXxRyNvTPr8'\n title='//www.youtube.com/embed/UXxRyNvTPr8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier this week, \u003cem>The Bold Italic\u003c/em> announced they were shutting down. I ended my\u003ca href=\"http://ww2.kqed.org/pop/2015/04/07/the-bold-italic-suddenly-calls-it-quits-bay-area-goes-huh/\"> KQED Pop post about the news\u003c/a> with this music video for Mariah Carey and Boyz II Men’s 1995 monster hit “One Sweet Day,” a song about the dearly departed. This has led me to listen to it at least 20 times over the past two days. Why, you ask? Because it captures the spirit of ’90s pop and R&B perfectly, plus the video features the braces of one of the Boyz II Men members and Mariah wearing Converse.\u003c/p>\n\u003cp>It’s not just me; history supports my obsession with this song. Did you know that it spent 16 weeks at the top of the charts and still holds the record for the longest running number one song in Billboard history? Mark Ronson & Bruno Mars’ “Uptown Funk” (ugh, make it stop!) just tied Mariah’s “We Belong Together” and Boyz II Men’s “I’ll Make Love To You” for second place with 14 weeks. I whitehousepetition.org you to stop listening to “Uptown Funk” immediately and start listening to “One Sweet Day” again. It’s the only way to keep things right in the world.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/nick-offerman-megan-mullally/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Nick Offerman & Megan Mullally\u003c/h2>\n\u003cdiv class=\"event-desc\">Comedy’s sex-positive power couple.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 26, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Masonic\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/nick-offerman-megan-mullally/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Nick Offerman is not one to mince words: the man enjoys sex with his wife.\u003c/p>\n\u003cp>The comedian, best-known to audiences as the professionally procrastinating man’s-man Ron Swanson on TV’s \u003cem>Parks & Recreation\u003c/em>, also feels free to pontificate at length about said sex with his wife in his public appearances. At a Bay Area show last year, he declared his “voracious sexual appetite” could only be sated by “taking what’s legally mine” in Mullally, whom he referred to as his “personal property.”\u003c/p>\n\u003cp>Now, in a tour together, Offerman and Mullally embark on what’s sure to be a coast-to-coast battle of the sexes. Mullally’s no withering flower herself, known for being strong and independent, and in the tour’s promotional photo she’s seen next to Offerman icily skewering a pair of wieners with a barbeque poker. It’s about as subtle as the title of the tour: \u003cem>Summer of 69: No Apostrophe\u003c/em>.\u003c/p>\n\u003cp>The reason Offerman’s solo routine works in nonoffensive fashion is the same reason Mullally’s character Karen Walker worked so well on the hit sitcom \u003cem>Will & Grace\u003c/em>: it’s completely over-the-top. Yes, Offerman in real life is a brawny guy who \u003ca href=\"http://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">likes his meat rare and owns a woodworking shop\u003c/a>, but he also knows that in Ron Swanson, he’d found a schtick that worked. In performance, he peppers his set with a constant high-pitched toddler’s giggle, letting the crowd know that he’s merely playing up that schtick to ridiculous extremes.\u003c/p>\n\u003cp>Ah, but remember the barbeque poker. Should Offerman pick up his guitar and sing his newly composed ode to vacation sex, “Beef on the Stone,” with verse after verse full of entendre and not-so-entendre about he and Mullally’s bedroom activities, expect it to make an arrival at the Masonic — upon Offerman’s backside, likely, and to uproarious laughter, surely. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/nick-offerman-megan-mullally/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Nick Offerman & Megan Mullally\u003c/h2>\n\u003cdiv class=\"event-desc\">Comedy’s sex-positive power couple.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 26, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Masonic\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/nick-offerman-megan-mullally/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Nick Offerman is not one to mince words: the man enjoys sex with his wife.\u003c/p>\n\u003cp>The comedian, best-known to audiences as the professionally procrastinating man’s-man Ron Swanson on TV’s \u003cem>Parks & Recreation\u003c/em>, also feels free to pontificate at length about said sex with his wife in his public appearances. At a Bay Area show last year, he declared his “voracious sexual appetite” could only be sated by “taking what’s legally mine” in Mullally, whom he referred to as his “personal property.”\u003c/p>\n\u003cp>Now, in a tour together, Offerman and Mullally embark on what’s sure to be a coast-to-coast battle of the sexes. Mullally’s no withering flower herself, known for being strong and independent, and in the tour’s promotional photo she’s seen next to Offerman icily skewering a pair of wieners with a barbeque poker. It’s about as subtle as the title of the tour: \u003cem>Summer of 69: No Apostrophe\u003c/em>.\u003c/p>\n\u003cp>The reason Offerman’s solo routine works in nonoffensive fashion is the same reason Mullally’s character Karen Walker worked so well on the hit sitcom \u003cem>Will & Grace\u003c/em>: it’s completely over-the-top. Yes, Offerman in real life is a brawny guy who \u003ca href=\"http://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">likes his meat rare and owns a woodworking shop\u003c/a>, but he also knows that in Ron Swanson, he’d found a schtick that worked. In performance, he peppers his set with a constant high-pitched toddler’s giggle, letting the crowd know that he’s merely playing up that schtick to ridiculous extremes.\u003c/p>\n\u003cp>Ah, but remember the barbeque poker. Should Offerman pick up his guitar and sing his newly composed ode to vacation sex, “Beef on the Stone,” with verse after verse full of entendre and not-so-entendre about he and Mullally’s bedroom activities, expect it to make an arrival at the Masonic — upon Offerman’s backside, likely, and to uproarious laughter, surely. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over Ghostface Killah’s favorite jazz musicians, the music videos of Hiro Murai, Selena, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Every Frame a Painting\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=I8lQKLjmoWI\u003c/p>\n\u003cp>It’s notoriously difficult to talk about movies in any depth—beyond “It’s in black and white!”—without sounding like a tedious poser. That’s why I love \u003ca href=\"https://www.youtube.com/channel/UCjFqcJQXGZ6T6sxyFB-5i6A\">\u003cspan class=\"s1\">these zippy video essays\u003c/span>\u003c/a> on how and why films \u003ci>work\u003c/i>,\u003ci> \u003c/i>by San Francisco-based buff \u003ca href=\"https://twitter.com/tonyszhou\">\u003cspan class=\"s1\">Tony Zhou\u003c/span>\u003c/a>. Delving into the nitty-gritty of technique and style without ever being pretentious, they reveal all the stuff you never notice, drawing from a huge range of movies you’ll actually, you know, \u003ci>recognize\u003c/i> (no film school preciousness here). My favorites so far? His take on \u003ca href=\"https://www.youtube.com/watch?v=uFfq2zblGXw\">\u003cspan class=\"s1\">text messages on-screen\u003c/span>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8q4X2vDRfRk\">\u003cspan class=\"s1\">the ferry scene in \u003c/span>\u003cspan class=\"s2\">\u003ci>Jaws\u003c/i>\u003c/span>\u003c/a> and why \u003ca href=\"https://www.youtube.com/watch?v=Z1PCtIaM_GQ\">\u003cspan class=\"s1\">Jackie Chan’s fights\u003c/span>\u003c/a> are so fun to watch. Like the best explainers, these fascinating videos underestimate your knowledge, not your intelligence. (P.S. I only just learned that \u003ca href=\"http://www.reddit.com/r/TrueFilm/comments/2rg8jt/i_am_tony_zhou_creator_of_the_every_frame_a/\">\u003cspan class=\"s1\">Tony\u003c/span>\u003c/a> is based in San Francisco while writing this! Which means… he could be in \u003ci>my\u003c/i> Starbucks right now, snipping bits out of \u003ci>Goodfellas\u003c/i>!)\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">BadBadNotGood\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=JUlPrRHfWAI\u003c/p>\n\u003cp>The year was 2003, and jazz was yet again declared to be dead; yet out of the abyss came \u003cem>These are the Vistas\u003c/em>, the major-label debut of iconoclastic trio the Bad Plus. They \u003ca href=\"https://www.youtube.com/watch?v=RZ6Xo1mYSJg\" target=\"_blank\" rel=\"noopener\">covered Nirvana\u003c/a> and Blondie. They played jazz like lion tamers. They got a 7.0 from Pitchfork. And just like that, thousands of indie-rock fans started listening to jazz. Twelve years later, the Toronto trio BadBadNotGood is doing the same thing for hip-hop fans—playing jazz with a boom-bap backbeat and collaborating with Tyler, the Creator, Frank Ocean, and Ghostface Killah. In fact, BadBadNotGood provides the instrumental backing for Ghostface’s new album, \u003ca href=\"https://www.youtube.com/watch?v=jI5rbMDrL3I\" target=\"_blank\" rel=\"noopener\">\u003cem>Sour Soul\u003c/em>\u003c/a>, but I’m currently obsessed with the group’s latest release as a trio, the more traditionally jazzy \u003cem>III\u003c/em>. Of course, someone’s uploaded the entire album to YouTube — hear it above.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Also Shot On iPhone 6\u003c/h2>\n\u003cfigure id=\"attachment_10524252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10524252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png\" alt=\"Photo: Also Shot on iPhone 6 / Tumblr\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-400x286.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-1180x844.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-320x229.png 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Also Shot on iPhone 6 / \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw Apple’s ‘Shot on iPhone 6’ campaign, it brought to mind creepy marketers combing through thousands of people’s photo albums to find images that would create the photo journal of the Perfect Person’s life. Many of the images they selected for the campaign depict moments of said Perfect Person in serene beauty: standing on top of a mountain, walking in woods blanketed with snow, sitting at the beach looking at the sunset, walking through sunflower fields.\u003c/p>\n\u003cp>After seeing these billboards plastered all over SF, I found them tiresome….UNTIL I came across \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Also Shot On iPhone 6\u003c/a>. The folks behind the Also Shot On campaign says their prank was created “to shed light on the fact that most photos taken with the device are a little less than perfect, and simply possessing an iPhone 6 probably isn’t going to change that for the typical consumer.” I love the snarky, DIY attitude of this advertising hack.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Hiro Murai’s Music Videos\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=2lXD0vv-ds8\u003c/p>\n\u003cp>\u003ca href=\"http://hiromurai.com\">Hiro Murai\u003c/a> makes music videos that swiftly transport you to another world, taking you to intense, riveting places in just a few minutes. His fascination with the mystery of dream states and uncanny vibes is strongly reflected in his work. Kendrick Lamar and Flying Lotus weren’t the focus of Murai’s video for their “Never Catch Me” collab, but the narrative was powerful and abstractly illustrative of the musicians’ intentions. Another favorite is \u003ca href=\"https://www.youtube.com/watch?v=ahpSKdLfB40\" target=\"_blank\" rel=\"noopener\">St. Vincent’s “Cheerleader”\u003c/a>; Murai was inspired by hyper-real sculptor Ron Mueck for the larger-than-life video. And those two are just scratching the surface of all the rad music videos he’s made. Head over to \u003ca href=\"http://hiromurai.com\">his official site\u003c/a> and sink into short films set to music by Childish Gambino, the Shins, Sia, Earl Sweatshirt, Cults, Shabazz Palaces and more!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Selena\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=P_317nB39bc\u003c/p>\n\u003cp>This week marked the 20th anniversary of Selena’s death, so her music has been pumping through my headphones nonstop. \u003ca href=\"http://ww2.kqed.org/pop/2015/03/31/remembering-selena-20-years-after-her-death/\">I wrote a piece for KQED Pop \u003c/a>about why Selena was so important. Yes, she had an amazing voice and so much charisma, but beyond her music and personality, the reason she is still remembered is that she made people who weren’t used to being represented feel seen, and made this first-generation kid stop apologizing for his difference and revel in it instead. For that, I will always love her. The disco medley above is from her last concert. It captures everything Selena did best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over Ghostface Killah’s favorite jazz musicians, the music videos of Hiro Murai, Selena, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Every Frame a Painting\u003c/h2>\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/I8lQKLjmoWI'\n title='//www.youtube.com/embed/I8lQKLjmoWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s notoriously difficult to talk about movies in any depth—beyond “It’s in black and white!”—without sounding like a tedious poser. That’s why I love \u003ca href=\"https://www.youtube.com/channel/UCjFqcJQXGZ6T6sxyFB-5i6A\">\u003cspan class=\"s1\">these zippy video essays\u003c/span>\u003c/a> on how and why films \u003ci>work\u003c/i>,\u003ci> \u003c/i>by San Francisco-based buff \u003ca href=\"https://twitter.com/tonyszhou\">\u003cspan class=\"s1\">Tony Zhou\u003c/span>\u003c/a>. Delving into the nitty-gritty of technique and style without ever being pretentious, they reveal all the stuff you never notice, drawing from a huge range of movies you’ll actually, you know, \u003ci>recognize\u003c/i> (no film school preciousness here). My favorites so far? His take on \u003ca href=\"https://www.youtube.com/watch?v=uFfq2zblGXw\">\u003cspan class=\"s1\">text messages on-screen\u003c/span>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8q4X2vDRfRk\">\u003cspan class=\"s1\">the ferry scene in \u003c/span>\u003cspan class=\"s2\">\u003ci>Jaws\u003c/i>\u003c/span>\u003c/a> and why \u003ca href=\"https://www.youtube.com/watch?v=Z1PCtIaM_GQ\">\u003cspan class=\"s1\">Jackie Chan’s fights\u003c/span>\u003c/a> are so fun to watch. Like the best explainers, these fascinating videos underestimate your knowledge, not your intelligence. (P.S. I only just learned that \u003ca href=\"http://www.reddit.com/r/TrueFilm/comments/2rg8jt/i_am_tony_zhou_creator_of_the_every_frame_a/\">\u003cspan class=\"s1\">Tony\u003c/span>\u003c/a> is based in San Francisco while writing this! Which means… he could be in \u003ci>my\u003c/i> Starbucks right now, snipping bits out of \u003ci>Goodfellas\u003c/i>!)\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">BadBadNotGood\u003c/h2>\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/JUlPrRHfWAI'\n title='//www.youtube.com/embed/JUlPrRHfWAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The year was 2003, and jazz was yet again declared to be dead; yet out of the abyss came \u003cem>These are the Vistas\u003c/em>, the major-label debut of iconoclastic trio the Bad Plus. They \u003ca href=\"https://www.youtube.com/watch?v=RZ6Xo1mYSJg\" target=\"_blank\" rel=\"noopener\">covered Nirvana\u003c/a> and Blondie. They played jazz like lion tamers. They got a 7.0 from Pitchfork. And just like that, thousands of indie-rock fans started listening to jazz. Twelve years later, the Toronto trio BadBadNotGood is doing the same thing for hip-hop fans—playing jazz with a boom-bap backbeat and collaborating with Tyler, the Creator, Frank Ocean, and Ghostface Killah. In fact, BadBadNotGood provides the instrumental backing for Ghostface’s new album, \u003ca href=\"https://www.youtube.com/watch?v=jI5rbMDrL3I\" target=\"_blank\" rel=\"noopener\">\u003cem>Sour Soul\u003c/em>\u003c/a>, but I’m currently obsessed with the group’s latest release as a trio, the more traditionally jazzy \u003cem>III\u003c/em>. Of course, someone’s uploaded the entire album to YouTube — hear it above.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Also Shot On iPhone 6\u003c/h2>\n\u003cfigure id=\"attachment_10524252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10524252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png\" alt=\"Photo: Also Shot on iPhone 6 / Tumblr\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-400x286.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-1180x844.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-320x229.png 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Also Shot on iPhone 6 / \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw Apple’s ‘Shot on iPhone 6’ campaign, it brought to mind creepy marketers combing through thousands of people’s photo albums to find images that would create the photo journal of the Perfect Person’s life. Many of the images they selected for the campaign depict moments of said Perfect Person in serene beauty: standing on top of a mountain, walking in woods blanketed with snow, sitting at the beach looking at the sunset, walking through sunflower fields.\u003c/p>\n\u003cp>After seeing these billboards plastered all over SF, I found them tiresome….UNTIL I came across \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Also Shot On iPhone 6\u003c/a>. The folks behind the Also Shot On campaign says their prank was created “to shed light on the fact that most photos taken with the device are a little less than perfect, and simply possessing an iPhone 6 probably isn’t going to change that for the typical consumer.” I love the snarky, DIY attitude of this advertising hack.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Hiro Murai’s Music Videos\u003c/h2>\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/2lXD0vv-ds8'\n title='//www.youtube.com/embed/2lXD0vv-ds8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://hiromurai.com\">Hiro Murai\u003c/a> makes music videos that swiftly transport you to another world, taking you to intense, riveting places in just a few minutes. His fascination with the mystery of dream states and uncanny vibes is strongly reflected in his work. Kendrick Lamar and Flying Lotus weren’t the focus of Murai’s video for their “Never Catch Me” collab, but the narrative was powerful and abstractly illustrative of the musicians’ intentions. Another favorite is \u003ca href=\"https://www.youtube.com/watch?v=ahpSKdLfB40\" target=\"_blank\" rel=\"noopener\">St. Vincent’s “Cheerleader”\u003c/a>; Murai was inspired by hyper-real sculptor Ron Mueck for the larger-than-life video. And those two are just scratching the surface of all the rad music videos he’s made. Head over to \u003ca href=\"http://hiromurai.com\">his official site\u003c/a> and sink into short films set to music by Childish Gambino, the Shins, Sia, Earl Sweatshirt, Cults, Shabazz Palaces and more!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Selena\u003c/h2>\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/P_317nB39bc'\n title='//www.youtube.com/embed/P_317nB39bc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This week marked the 20th anniversary of Selena’s death, so her music has been pumping through my headphones nonstop. \u003ca href=\"http://ww2.kqed.org/pop/2015/03/31/remembering-selena-20-years-after-her-death/\">I wrote a piece for KQED Pop \u003c/a>about why Selena was so important. Yes, she had an amazing voice and so much charisma, but beyond her music and personality, the reason she is still remembered is that she made people who weren’t used to being represented feel seen, and made this first-generation kid stop apologizing for his difference and revel in it instead. For that, I will always love her. The disco medley above is from her last concert. It captures everything Selena did best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "1968 Presentation Introducing Personal Computing Inspires New Musical",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\u003c/p>\n\n",
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"excerpt": "In the 1968 \"mother of all demos\" in San Francisco, computer features like hypertext, on-screen collaboration and the mouse were unveiled for the first time; and now, a duo reimagines the prescient lecture in this unique show.",
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"title": "1968 Presentation Introducing Personal Computing Inspires New Musical | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over Serena Williams’ Beyoncé tribute, a famous carpet, a sexually transmitted curse, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Serena Williams Does Her Best Beyoncé Impression\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H7AF5294ED4\u003c/p>\n\u003cp>There are few things I love more than celebrities geeking out over other celebrities, like \u003ca href=\"https://www.youtube.com/watch?v=5TL7ksX_iSM\">when Eden Sher lost her mind\u003c/a> upon meeting Taylor Swift. While not as hilarious as that (although what is, really?), Serena Williams’ recreation of \u003ca href=\"https://www.youtube.com/watch?v=k4YRWT_Aldo\">Beyoncé’s “7/11” music video\u003c/a> is supremely entertaining, in a \u003ca href=\"http://media.dcentertainment.com/sites/default/files/MAD-Stars-Just-Like-Us.jpg\">\u003cem>Stars—They’re Just Like Us!\u003c/em>\u003c/a> kind of way. Haven’t we all recorded ourselves lipsyncing to a song by our favorite singer or band? Haven’t we all pulled our backs out while recreating Robyn’s dance routine from “Call Your Girlfriend”? Oh, that’s just me.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">PDX’s Carpet Named Grand Marshal\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=OT8jIe5NuDc\u003c/p>\n\u003cp class=\"p1\">Did you know the Portland Airport’s carpet is famous? In the tradition of keeping it weird, Portland rolled up a piece of their airport carpet last week and \u003ca href=\"http://www.kgw.com/story/news/2015/03/20/pdx-carpet-grand-marshal-starlight-parade/25091495/\">named it the Grand Marshal\u003c/a> of the Starlight Parade for the Portland Rose Festival. Known as Pedey (or PD or Petey), the carpet was quickly anthropomorphized with a hat, a belt, and two large googly eyes. People are so fond of the carpet’s retro design that you can get \u003ca href=\"http://pdxcarpet.com/\">\u003cspan class=\"s1\">socks, T-shirts and more\u003c/span>\u003c/a> printed with the beloved ’80s pattern. The carpet covers 13 acres of the airport and is currently being replaced, hence the nostalgia. Long live Petey! I wonder if someone is going to sell pieces of him like they do with the \u003ca href=\"http://www.ebay.com/bhp/berlin-wall\">\u003cspan class=\"s1\">Berlin wall\u003c/span>\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Liar’s Club’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=KctTnPrWS1A\u003c/p>\n\u003cp class=\"p1\">The bonus to coming across ‘What is This Thing Called?’—my addiction from \u003ca href=\"http://ww2.kqed.org/arts/2015/03/19/obsessed-everything-we-cant-stop-talking-about-this-week-7/\">last week’s Obsessed column\u003c/a>—is that I remembered a game show that my dad told me about long ago. He, as a construction worker, and I, as a kid helping out on job sites, would discover unusual objects and commence playing “Liar’s Club,” where we gave outlandish descriptions of the object’s purpose to each other until we a) settled on the one that made the most sense or b) bowled over laughing, and then got back to nailing baseboard. Our little game was based on the 1970s game show \u003cem>Liar’s Club.\u003c/em> I hadn’t thought to look up the show on YouTube until this week, and man, I’m hooked. Celebrity guests pass around a weird object, tell bizarre stories about what it’s for, and contestants have to guess which one’s actually telling the truth. Catch an episode with Betty White, Peter Marshall, Larry Hovis and Pat McCormick above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘It Follows’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HkZYbOH0ujw\u003c/p>\n\u003cp class=\"p1\">A sexually transmitted curse, which manifests as a slowly advancing figure and mangles you to death when it catches you? A pseudo-’80s suburban setting? “Never go anywhere with only one exit”?! Come on, the trailer alone for this movie made me want to see it so badly that I was basically trying to feed my admission fee into my laptop’s CD slot. \u003ci>It Follows\u003c/i> is definitely more haunting than terrifying, so don’t fall for the “scariest horror of the last ten years” hype, but it’s got an awesome atmosphere of dread (adults can’t help you, kids!), shockingly gorgeous cinematography that makes everything look like \u003ca href=\"http://www.aperture.org/crewdson/\">\u003cspan class=\"s1\">a Gregory Crewdson photo\u003c/span>\u003c/a> and, above all, \u003ca href=\"https://www.youtube.com/watch?v=XxfQEZXRPNQ\">\u003cspan class=\"s1\">an insanely good John Carpenter-esque soundtrack by Disasterpeace\u003c/span>\u003c/a>. It’s most obviously indebted to \u003ci>Halloween\u003c/i>, but with its social smarts, relentless supernatural pursuer and general mood of despair, \u003cem>It Follows\u003c/em> reminds me most of a suburban teen \u003ci>Candyman\u003c/i>. Which is — duh — the best thing possible.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over Serena Williams' Beyoncé tribute, a famous carpet, a sexually transmitted curse and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over Serena Williams’ Beyoncé tribute, a famous carpet, a sexually transmitted curse, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Serena Williams Does Her Best Beyoncé Impression\u003c/h2>\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/H7AF5294ED4'\n title='//www.youtube.com/embed/H7AF5294ED4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are few things I love more than celebrities geeking out over other celebrities, like \u003ca href=\"https://www.youtube.com/watch?v=5TL7ksX_iSM\">when Eden Sher lost her mind\u003c/a> upon meeting Taylor Swift. While not as hilarious as that (although what is, really?), Serena Williams’ recreation of \u003ca href=\"https://www.youtube.com/watch?v=k4YRWT_Aldo\">Beyoncé’s “7/11” music video\u003c/a> is supremely entertaining, in a \u003ca href=\"http://media.dcentertainment.com/sites/default/files/MAD-Stars-Just-Like-Us.jpg\">\u003cem>Stars—They’re Just Like Us!\u003c/em>\u003c/a> kind of way. Haven’t we all recorded ourselves lipsyncing to a song by our favorite singer or band? Haven’t we all pulled our backs out while recreating Robyn’s dance routine from “Call Your Girlfriend”? Oh, that’s just me.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">PDX’s Carpet Named Grand Marshal\u003c/h2>\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/OT8jIe5NuDc'\n title='//www.youtube.com/embed/OT8jIe5NuDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Did you know the Portland Airport’s carpet is famous? In the tradition of keeping it weird, Portland rolled up a piece of their airport carpet last week and \u003ca href=\"http://www.kgw.com/story/news/2015/03/20/pdx-carpet-grand-marshal-starlight-parade/25091495/\">named it the Grand Marshal\u003c/a> of the Starlight Parade for the Portland Rose Festival. Known as Pedey (or PD or Petey), the carpet was quickly anthropomorphized with a hat, a belt, and two large googly eyes. People are so fond of the carpet’s retro design that you can get \u003ca href=\"http://pdxcarpet.com/\">\u003cspan class=\"s1\">socks, T-shirts and more\u003c/span>\u003c/a> printed with the beloved ’80s pattern. The carpet covers 13 acres of the airport and is currently being replaced, hence the nostalgia. Long live Petey! I wonder if someone is going to sell pieces of him like they do with the \u003ca href=\"http://www.ebay.com/bhp/berlin-wall\">\u003cspan class=\"s1\">Berlin wall\u003c/span>\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Liar’s Club’\u003c/h2>\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/KctTnPrWS1A'\n title='//www.youtube.com/embed/KctTnPrWS1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">The bonus to coming across ‘What is This Thing Called?’—my addiction from \u003ca href=\"http://ww2.kqed.org/arts/2015/03/19/obsessed-everything-we-cant-stop-talking-about-this-week-7/\">last week’s Obsessed column\u003c/a>—is that I remembered a game show that my dad told me about long ago. He, as a construction worker, and I, as a kid helping out on job sites, would discover unusual objects and commence playing “Liar’s Club,” where we gave outlandish descriptions of the object’s purpose to each other until we a) settled on the one that made the most sense or b) bowled over laughing, and then got back to nailing baseboard. Our little game was based on the 1970s game show \u003cem>Liar’s Club.\u003c/em> I hadn’t thought to look up the show on YouTube until this week, and man, I’m hooked. Celebrity guests pass around a weird object, tell bizarre stories about what it’s for, and contestants have to guess which one’s actually telling the truth. Catch an episode with Betty White, Peter Marshall, Larry Hovis and Pat McCormick above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘It Follows’\u003c/h2>\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/HkZYbOH0ujw'\n title='//www.youtube.com/embed/HkZYbOH0ujw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">A sexually transmitted curse, which manifests as a slowly advancing figure and mangles you to death when it catches you? A pseudo-’80s suburban setting? “Never go anywhere with only one exit”?! Come on, the trailer alone for this movie made me want to see it so badly that I was basically trying to feed my admission fee into my laptop’s CD slot. \u003ci>It Follows\u003c/i> is definitely more haunting than terrifying, so don’t fall for the “scariest horror of the last ten years” hype, but it’s got an awesome atmosphere of dread (adults can’t help you, kids!), shockingly gorgeous cinematography that makes everything look like \u003ca href=\"http://www.aperture.org/crewdson/\">\u003cspan class=\"s1\">a Gregory Crewdson photo\u003c/span>\u003c/a> and, above all, \u003ca href=\"https://www.youtube.com/watch?v=XxfQEZXRPNQ\">\u003cspan class=\"s1\">an insanely good John Carpenter-esque soundtrack by Disasterpeace\u003c/span>\u003c/a>. It’s most obviously indebted to \u003ci>Halloween\u003c/i>, but with its social smarts, relentless supernatural pursuer and general mood of despair, \u003cem>It Follows\u003c/em> reminds me most of a suburban teen \u003ci>Candyman\u003c/i>. Which is — duh — the best thing possible.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over a mole woman, a drug dealer, a child star turned artist, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Unbreakable Kimmy Schmidt’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=mNKEKlXY3Z4\u003c/p>\n\u003cp>For the past few months, I’ve been marathoning \u003cem>Friends\u003c/em> from the beginning. It was fun in a time capsule-y way at first, but all the homophobic jokes got to be too much. Just when I needed saving from the 10-season abyss of outdated social attitudes, in swooped \u003cem>Unbreakable Kimmy Schmidt\u003c/em> to the rescue! The show, created by the perfect Tina Fey, is Netflix’s latest foray into television and follows a cult member who’s been underground for the past 15 years as she moves to New York and tries to be normal. The jokes write themselves. So far (I’m only on episode 3), \u003cem>Unbreakable\u003c/em> is like a cartoon puppy, more twee than Zooey Deschannel eating a cupcake, but something about it (maybe the \u003ca href=\"http://en.wikipedia.org/wiki/Amelia_Bedelia\">Amelia Bedelia\u003c/a> reference) has me excited to see more.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Alia Shawkat’s Art\u003c/h2>\n\u003cdiv>\n\u003cfigure id=\"attachment_10483359\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483359\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/MG_3238.jpg\" alt=\"Photo: Alia Shawkat\" width=\"500\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-320x246.jpg 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://mutantalia.com/\">Alia Shawkat\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp class=\"p1\">You may know Alia Shawkat as Maeby Fünke from \u003cem>Arrested Development\u003c/em> or her recent steamy cameo on \u003ca href=\"http://ww2.kqed.org/pop/2015/03/16/broad-city-keyboard-just-made-your-texts-way-more-exciting/\">\u003cem>Broad City\u003c/em>\u003c/a>, but did you know she’s also an artist? It’s true, and her work seems more genuine and is less conceptual than art by other actors who have dipped into the gallery game (ahem, James Franco and Shia LaBeouf). Shawkat has shown her work internationally and, though it’s possible her acting gigs are infringing on her studio time since she doesn’t list any recent shows on \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>, she does have some funny drawings for sale. Maybe you should invest in a Maeby original at \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">mutantalia.com\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Happy Valley’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=G_YjBW5YWvI\u003c/p>\n\u003cp class=\"p1\">After months of having this UK crime drama relentlessly “suggested” to me by Netflix, I finally cracked. What initially seems like a rural caper about a harebrained criminal scheme going awry gets horribly dark and nasty with terrifying speed (full disclosure: I binge-watched all six episodes in one night). It’s got an incredibly good, vanity-free lead performance from \u003ca href=\"http://en.wikipedia.org/wiki/Sarah_Lancashire\">\u003cspan class=\"s1\">Sarah Lancashire\u003c/span>\u003c/a> (never write off former soap stars!), superbly drawn female characters by the bucketload, and \u003ca href=\"http://www.bbc.co.uk/programmes/articles/2FypLJlVY9cmSVXGkPwG6lr/tommys-just-as-real-as-every-other-character\">\u003cspan class=\"s1\">one of the most \u003c/span>\u003cspan class=\"s2\">\u003ci>truly\u003c/i>\u003c/span>\u003cspan class=\"s1\"> hateful villains\u003c/span>\u003c/a> ever — kind of remarkable in a TV landscape saturated with increasingly outlandish mass murderers. Violence is used so sparingly that when it appears, it’s genuinely shocking, with one pivotal scene that’s the scariest thing I’ve seen onscreen in a long time. So many UK crime dramas strain to look and sound “American” (looking at you, \u003ca href=\"http://variety.com/2014/tv/news/luther-idris-elba-bbc-america-new-miniseries-1201360461/\">\u003cspan class=\"s1\">\u003ci>Luther\u003c/i>\u003c/span>\u003c/a>), and I’m so glad this one doesn’t. It’s miles better than \u003ci>Broadchurch\u003c/i>, and it might just (whisper it) be as good as \u003ci>The Fall\u003c/i>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>High Maintenance\u003c/em>\u003c/h2>\n\u003cp>https://vimeo.com/53044580\u003c/p>\n\u003cp class=\"p1\">Vimeo’s foray into the world of original programming brings us the fabulous escapades of a nameless weed delivery man who encounters neurotic, awkward and hilariously real clients throughout Brooklyn. It isn’t a classic stoner comedy — rather, it’s a parody on the life of city dwellers, and a quick look into people’s motivations, habits and homes. Husband-and-wife team Katja Blichfeld and Ben Sinclair have skillfully repurposed their casting, acting and directing expertise from big shows like \u003cem>30 Rock\u003c/em> into an internet darling with cameos from folks like \u003ca href=\"https://vimeo.com/channels/highmaintenance/90011431\">\u003cspan class=\"s1\">Dan Stevens\u003c/span>\u003c/a> (Matthew Crawley from \u003cem>Downton Abbey\u003c/em>) and \u003ca href=\"https://vimeo.com/64447340\">\u003cspan class=\"s1\">Hannibal Buress\u003c/span>\u003c/a>. Before Vimeo came on the scene, the first episodes (still free online) were totally DIY — self-funded, and filmed in Blichfeld and Sinclair’s apartment with friends. Check out the episode above, which follows what happens when two Fleet Foxes-listening, Kombucha-drinking hippies find a mouse in a glue trap.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">What is This Thing Called?\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10483363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png\" alt=\"Screen shot 2015-03-18 at 6.04.21 PM\" width=\"509\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-400x321.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-320x257.png 320w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/p>\n\u003cp class=\"p1\">I can’t tell you how many times in my life I’ve seen a stray metal object on the ground, clearly having once served a purpose now unidentifiable out of context, and thought to myself, “What is that thing called?” So it’s a very oddly satisfying experience looking at pictures of such objects, over and over, captioned by the same question. The Tumblr ‘\u003ca href=\"http://whatisthisthingcalled.com/\">What is This Thing Called?\u003c/a>’ doesn’t serve to provide any answers, which seems antithetical to the entire idea of the internet. What it \u003cem>does\u003c/em> provide is a reassurance that curiosity is fine on its own, and need not be consummated with knowledge. I like that idea.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over a mole woman, a drug dealer, a child star-turned-artist, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over a mole woman, a drug dealer, a child star turned artist, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Unbreakable Kimmy Schmidt’\u003c/h2>\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/mNKEKlXY3Z4'\n title='//www.youtube.com/embed/mNKEKlXY3Z4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the past few months, I’ve been marathoning \u003cem>Friends\u003c/em> from the beginning. It was fun in a time capsule-y way at first, but all the homophobic jokes got to be too much. Just when I needed saving from the 10-season abyss of outdated social attitudes, in swooped \u003cem>Unbreakable Kimmy Schmidt\u003c/em> to the rescue! The show, created by the perfect Tina Fey, is Netflix’s latest foray into television and follows a cult member who’s been underground for the past 15 years as she moves to New York and tries to be normal. The jokes write themselves. So far (I’m only on episode 3), \u003cem>Unbreakable\u003c/em> is like a cartoon puppy, more twee than Zooey Deschannel eating a cupcake, but something about it (maybe the \u003ca href=\"http://en.wikipedia.org/wiki/Amelia_Bedelia\">Amelia Bedelia\u003c/a> reference) has me excited to see more.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Alia Shawkat’s Art\u003c/h2>\n\u003cdiv>\n\u003cfigure id=\"attachment_10483359\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483359\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/MG_3238.jpg\" alt=\"Photo: Alia Shawkat\" width=\"500\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-320x246.jpg 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://mutantalia.com/\">Alia Shawkat\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp class=\"p1\">You may know Alia Shawkat as Maeby Fünke from \u003cem>Arrested Development\u003c/em> or her recent steamy cameo on \u003ca href=\"http://ww2.kqed.org/pop/2015/03/16/broad-city-keyboard-just-made-your-texts-way-more-exciting/\">\u003cem>Broad City\u003c/em>\u003c/a>, but did you know she’s also an artist? It’s true, and her work seems more genuine and is less conceptual than art by other actors who have dipped into the gallery game (ahem, James Franco and Shia LaBeouf). Shawkat has shown her work internationally and, though it’s possible her acting gigs are infringing on her studio time since she doesn’t list any recent shows on \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>, she does have some funny drawings for sale. Maybe you should invest in a Maeby original at \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">mutantalia.com\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Happy Valley’\u003c/h2>\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/G_YjBW5YWvI'\n title='//www.youtube.com/embed/G_YjBW5YWvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">After months of having this UK crime drama relentlessly “suggested” to me by Netflix, I finally cracked. What initially seems like a rural caper about a harebrained criminal scheme going awry gets horribly dark and nasty with terrifying speed (full disclosure: I binge-watched all six episodes in one night). It’s got an incredibly good, vanity-free lead performance from \u003ca href=\"http://en.wikipedia.org/wiki/Sarah_Lancashire\">\u003cspan class=\"s1\">Sarah Lancashire\u003c/span>\u003c/a> (never write off former soap stars!), superbly drawn female characters by the bucketload, and \u003ca href=\"http://www.bbc.co.uk/programmes/articles/2FypLJlVY9cmSVXGkPwG6lr/tommys-just-as-real-as-every-other-character\">\u003cspan class=\"s1\">one of the most \u003c/span>\u003cspan class=\"s2\">\u003ci>truly\u003c/i>\u003c/span>\u003cspan class=\"s1\"> hateful villains\u003c/span>\u003c/a> ever — kind of remarkable in a TV landscape saturated with increasingly outlandish mass murderers. Violence is used so sparingly that when it appears, it’s genuinely shocking, with one pivotal scene that’s the scariest thing I’ve seen onscreen in a long time. So many UK crime dramas strain to look and sound “American” (looking at you, \u003ca href=\"http://variety.com/2014/tv/news/luther-idris-elba-bbc-america-new-miniseries-1201360461/\">\u003cspan class=\"s1\">\u003ci>Luther\u003c/i>\u003c/span>\u003c/a>), and I’m so glad this one doesn’t. It’s miles better than \u003ci>Broadchurch\u003c/i>, and it might just (whisper it) be as good as \u003ci>The Fall\u003c/i>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>High Maintenance\u003c/em>\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">Vimeo’s foray into the world of original programming brings us the fabulous escapades of a nameless weed delivery man who encounters neurotic, awkward and hilariously real clients throughout Brooklyn. It isn’t a classic stoner comedy — rather, it’s a parody on the life of city dwellers, and a quick look into people’s motivations, habits and homes. Husband-and-wife team Katja Blichfeld and Ben Sinclair have skillfully repurposed their casting, acting and directing expertise from big shows like \u003cem>30 Rock\u003c/em> into an internet darling with cameos from folks like \u003ca href=\"https://vimeo.com/channels/highmaintenance/90011431\">\u003cspan class=\"s1\">Dan Stevens\u003c/span>\u003c/a> (Matthew Crawley from \u003cem>Downton Abbey\u003c/em>) and \u003ca href=\"https://vimeo.com/64447340\">\u003cspan class=\"s1\">Hannibal Buress\u003c/span>\u003c/a>. Before Vimeo came on the scene, the first episodes (still free online) were totally DIY — self-funded, and filmed in Blichfeld and Sinclair’s apartment with friends. Check out the episode above, which follows what happens when two Fleet Foxes-listening, Kombucha-drinking hippies find a mouse in a glue trap.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">What is This Thing Called?\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10483363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png\" alt=\"Screen shot 2015-03-18 at 6.04.21 PM\" width=\"509\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-400x321.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-320x257.png 320w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/p>\n\u003cp class=\"p1\">I can’t tell you how many times in my life I’ve seen a stray metal object on the ground, clearly having once served a purpose now unidentifiable out of context, and thought to myself, “What is that thing called?” So it’s a very oddly satisfying experience looking at pictures of such objects, over and over, captioned by the same question. The Tumblr ‘\u003ca href=\"http://whatisthisthingcalled.com/\">What is This Thing Called?\u003c/a>’ doesn’t serve to provide any answers, which seems antithetical to the entire idea of the internet. What it \u003cem>does\u003c/em> provide is a reassurance that curiosity is fine on its own, and need not be consummated with knowledge. I like that idea.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Who Runs The World? Emma Watson!\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=tWejyY4CPn4\u003c/p>\n\u003cp>Emma Watson grew up playing Hermione Granger in the \u003cem>Harry Potter\u003c/em> films, but instead of going down the dark path trampled by most child stars, she went on to study at Brown and Oxford, continue acting in pretty good movies, and become the \u003ca href=\"http://www.unwomen.org/en/partnerships/goodwill-ambassadors/emma-watson\" target=\"_blank\" rel=\"noopener\">UN Women Goodwill Ambassador\u003c/a> (nbd!). In her role at the UN, she’s been making waves with her speeches about the need for gender equality. I watched her hour-long Q&A on the topic at the beginning of the week and can’t stop thinking about how simply and eloquently she captured the spirit of feminism.\u003c/p>\n\u003cp>Harry Potter fans fell in love with the character of Hermione because she wouldn’t settle for anything less than her full potential; because she never let being “muggle-born” or a girl in a boy’s world hold her back from being a boss; and because she wasn’t afraid of \u003ca href=\"https://www.youtube.com/watch?v=-17GLD1KxkE\">punching the most sinister boy in school right in the face\u003c/a>. These days, Emma Watson doesn’t need to fight sexist jerks with her fists; she’s knocking out inequality with reason, intelligence, and grace. Somewhere out there, Hermione is \u003ca href=\"http://hellogiggles.hellogiggles.netdna-cdn.com/wp-content/uploads/2014/05/15/Its-Leviosa-not-leviosar-Hermione-Granger-GIF.gif\">perfectly pronouncing\u003c/a> “You go, girl!” For the most inspiring quotes from the Q&A and to watch the whole video, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">head over to KQED Pop\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Old Loves\u003c/h2>\n\u003cfigure id=\"attachment_10462664\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10462664\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png\" alt=\"Liam Neeson & Helen Mirren were a thing?!\" width=\"500\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-400x306.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-320x245.png 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Liam Neeson & Helen Mirren were a thing?!\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">Pictures of famous people who used to be together but aren’t any more: that’s literally all there is to \u003ca href=\"http://oldloves.tumblr.com/\">\u003cspan class=\"s1\">Old Loves\u003c/span>\u003c/a>, and yet scrolling through this seemingly-endless Tumblr represents the closest I’ve come to a serious addiction. Vintage fashions, visible\u003ca href=\"http://oldloves.tumblr.com/post/84265742343/robert-downey-jr-sarah-jessica-parker-1983\">\u003cspan class=\"s1\"> substance abuse issues\u003c/span>\u003c/a>, Liv Tyler’s \u003ca href=\"http://oldloves.tumblr.com/post/86165441218\">\u003cspan class=\"s1\">awkward youth\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/88632818092/the2000sblog-britney-spears-and-justin\">\u003cspan class=\"s1\">Britney and J.T\u003c/span>\u003c/a>., Heidi Klum and Seal’s\u003ca href=\"http://oldloves.tumblr.com/post/101099273174/heidi-klum-seal-halloween-2006\">\u003cspan class=\"s1\"> infamous Halloween costumes\u003c/span>\u003c/a>, Kirsten Dunst and Jake Gyllenhaal’s\u003ca href=\"http://oldloves.tumblr.com/post/94112873948/gentle-twig-amycakesdankydank-same-this-is\">\u003cspan class=\"s1\"> miserable lunch\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/110998873798/vanityfair-bill-murray-and-gilda-radner-dancing\">\u003cspan class=\"s1\">Bill Murray and Gilda Radner \u003c/span>\u003c/a>at Studio 54, Cher and Greg Allman’s \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/96668377135/cher-gregg-allman\">hair-union\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/tagged/johnny+depp\">\u003cspan class=\"s1\">Johnny Depp\u003c/span>\u003c/a> and \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/tagged/winona-ryder\">Winona Ryder \u003c/a>(\u003c/span>whether \u003ca href=\"http://oldloves.tumblr.com/post/12636310072/ilanaglazer-nickdrake-johnny-depp-winona\">\u003cspan class=\"s1\">with each other\u003c/span>\u003c/a> or \u003ca href=\"http://oldloves.tumblr.com/post/82164327257/winona-ryder-matt-damon-at-the-golden-globe\">\u003cspan class=\"s1\">literally\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/96292117060/kate-moss-johnny-depp\">\u003cspan class=\"s1\">everyone\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/13053712334\">\u003cspan class=\"s1\">else\u003c/span>\u003c/a> \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/27826888485/johnny-depp-sherilyn-fenn\">in Hollywood\u003c/a>)\u003c/span>\u003c/span> — it’s all here, along with the pleasures of discovering historic couplings you had no idea existed (\u003ca href=\"http://oldloves.tumblr.com/post/98905664253/oldloves-liam-neeson-helen-mirren\">\u003cspan class=\"s1\">Liam Neeson and Helen Mirren\u003c/span>\u003c/a>, seriously?).\u003c/p>\n\u003cp class=\"p1\">It’s not just a reminder that famous people \u003ci>really\u003c/i> like to keep the gene pool shallow, but also a glimpse into a different era of celebrity, where actors looked \u003ca href=\"http://oldloves.tumblr.com/post/81529123712/gwyneth-paltrow-ben-affleck\">\u003cspan class=\"s1\">way less groomed\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/107234953373/susan-sarandon-tim-robbins-circa-1989\">\u003cspan class=\"s1\">paparazzi shots\u003c/span>\u003c/a> were unguarded and \u003ca href=\"http://oldloves.tumblr.com/post/94994030522/gary-oldman-isabella-rossellini\">\u003cspan class=\"s1\">Gary Oldman and Isabella Rossellini shared daschunds\u003c/span>\u003c/a>. So if, like me, you’re the kind of person who loves buying disconcertingly-stiff back issues of \u003ci>Us Weekly\u003c/i> from garage sales that have clearly spent the last decade in someone’s bathroom, call in sick tomorrow and give this Tumblr the time it deserves.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Barry McGee’s Needlepoint Carrot\u003c/h2>\n\u003cdiv> \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10464720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg\" alt=\"kfarrtwistcarrot-1\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>Barry McGee is a Bay Area luminary, renowned for his graffiti-rooted, eye-popping artwork, and it’s no secret that he’s \u003cspan class=\"s1\">\u003ca href=\"http://ww2.kqed.org/arts/2012/08/27/barry_mcgee_at_bampfa/\">one of my favorites\u003c/a>\u003c/span>. One of his clustered installations is currently on view as part of the Oakland Museum’s \u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-ca%20lifornia\">\u003ci>Fertile Ground\u003c/i>\u003c/a> exhibition. It bulges out of the wall like a “pimple,” as the artist has described, and is made up of countless framed paintings, photographs, or found objects.\u003c/p>\n\u003cp>The arrangement is different every time it’s exhibited, and this time I noticed an unexpected needlepoint carrot in the mix. This little stitched snack left me curious. Where did he find that carrot? Who made it? Is it a carrot or a yam? On a recent museum visit for a KQED video shoot, I geekily pointed it out to museum staff and anyone else who would listen. \u003cem>Fertile Ground\u003c/em> is open for another month, plenty of time for you to go find it!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/avatar-pic-e1426011256947.jpg\" alt=\"harold check\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/hcheck/\">\u003ci>Harold Check\u003c/i>\u003c/a>\u003cbr>Freelancer, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Internet Archive’s MS-DOS Games Collection\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=x1bcza1uAYs\u003c/p>\n\u003cp>There’s a specific kind of nostalgia (the Germans probably have a word for it) that combines wistful affection with a head-smacking epiphany of long-forgotten excess. Boy howdy, did I have that feeling when I came across the \u003ca href=\"https://archive.org/details/softwarelibrary_msdos_games\">Internet Archive’s MS-DOS Games collection\u003c/a>.\u003c/p>\n\u003cp>Sure, the titles and launch-screen images would have been plenty to keep me endlessly scrolling through the 2,600+ games, mostly from the ’80s and ’90s. I could have spent hours chuckling over the days and weeks I “wasted” trying to master the timing of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Prince_of_Persia_1990\">Prince of Persia\u003c/a>\u003c/em> (those skidding stops!), or telling myself I’d just design one more level of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Lode_Runner_1983_1983\">Lode Runner\u003c/a>\u003c/em>. But, no, the geniuses behind the Internet Archive, completists that they are, have much more in store.\u003c/p>\n\u003cp>All of these games are \u003cem>playable\u003c/em>. In your browser. Yes, some are hamstrung by antiquated control schemes, and others are just shareware samples, not full games, but I would suggest that the point isn’t to relive the full experience of beating \u003cem>\u003ca href=\"https://archive.org/details/msdos_Castle_Wolfenstein_1984\">Castle Wolfenstein\u003c/a>\u003c/em>, but just to get the overpowering taste back in your mouth.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!",
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"description": "This week, the KQED Arts gang is freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!",
"title": "OBSESSED: Everything We Can't Stop Talking About This Week | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Who Runs The World? Emma Watson!\u003c/h2>\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/tWejyY4CPn4'\n title='//www.youtube.com/embed/tWejyY4CPn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Emma Watson grew up playing Hermione Granger in the \u003cem>Harry Potter\u003c/em> films, but instead of going down the dark path trampled by most child stars, she went on to study at Brown and Oxford, continue acting in pretty good movies, and become the \u003ca href=\"http://www.unwomen.org/en/partnerships/goodwill-ambassadors/emma-watson\" target=\"_blank\" rel=\"noopener\">UN Women Goodwill Ambassador\u003c/a> (nbd!). In her role at the UN, she’s been making waves with her speeches about the need for gender equality. I watched her hour-long Q&A on the topic at the beginning of the week and can’t stop thinking about how simply and eloquently she captured the spirit of feminism.\u003c/p>\n\u003cp>Harry Potter fans fell in love with the character of Hermione because she wouldn’t settle for anything less than her full potential; because she never let being “muggle-born” or a girl in a boy’s world hold her back from being a boss; and because she wasn’t afraid of \u003ca href=\"https://www.youtube.com/watch?v=-17GLD1KxkE\">punching the most sinister boy in school right in the face\u003c/a>. These days, Emma Watson doesn’t need to fight sexist jerks with her fists; she’s knocking out inequality with reason, intelligence, and grace. Somewhere out there, Hermione is \u003ca href=\"http://hellogiggles.hellogiggles.netdna-cdn.com/wp-content/uploads/2014/05/15/Its-Leviosa-not-leviosar-Hermione-Granger-GIF.gif\">perfectly pronouncing\u003c/a> “You go, girl!” For the most inspiring quotes from the Q&A and to watch the whole video, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">head over to KQED Pop\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Old Loves\u003c/h2>\n\u003cfigure id=\"attachment_10462664\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10462664\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png\" alt=\"Liam Neeson & Helen Mirren were a thing?!\" width=\"500\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-400x306.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-320x245.png 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Liam Neeson & Helen Mirren were a thing?!\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">Pictures of famous people who used to be together but aren’t any more: that’s literally all there is to \u003ca href=\"http://oldloves.tumblr.com/\">\u003cspan class=\"s1\">Old Loves\u003c/span>\u003c/a>, and yet scrolling through this seemingly-endless Tumblr represents the closest I’ve come to a serious addiction. Vintage fashions, visible\u003ca href=\"http://oldloves.tumblr.com/post/84265742343/robert-downey-jr-sarah-jessica-parker-1983\">\u003cspan class=\"s1\"> substance abuse issues\u003c/span>\u003c/a>, Liv Tyler’s \u003ca href=\"http://oldloves.tumblr.com/post/86165441218\">\u003cspan class=\"s1\">awkward youth\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/88632818092/the2000sblog-britney-spears-and-justin\">\u003cspan class=\"s1\">Britney and J.T\u003c/span>\u003c/a>., Heidi Klum and Seal’s\u003ca href=\"http://oldloves.tumblr.com/post/101099273174/heidi-klum-seal-halloween-2006\">\u003cspan class=\"s1\"> infamous Halloween costumes\u003c/span>\u003c/a>, Kirsten Dunst and Jake Gyllenhaal’s\u003ca href=\"http://oldloves.tumblr.com/post/94112873948/gentle-twig-amycakesdankydank-same-this-is\">\u003cspan class=\"s1\"> miserable lunch\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/110998873798/vanityfair-bill-murray-and-gilda-radner-dancing\">\u003cspan class=\"s1\">Bill Murray and Gilda Radner \u003c/span>\u003c/a>at Studio 54, Cher and Greg Allman’s \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/96668377135/cher-gregg-allman\">hair-union\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/tagged/johnny+depp\">\u003cspan class=\"s1\">Johnny Depp\u003c/span>\u003c/a> and \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/tagged/winona-ryder\">Winona Ryder \u003c/a>(\u003c/span>whether \u003ca href=\"http://oldloves.tumblr.com/post/12636310072/ilanaglazer-nickdrake-johnny-depp-winona\">\u003cspan class=\"s1\">with each other\u003c/span>\u003c/a> or \u003ca href=\"http://oldloves.tumblr.com/post/82164327257/winona-ryder-matt-damon-at-the-golden-globe\">\u003cspan class=\"s1\">literally\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/96292117060/kate-moss-johnny-depp\">\u003cspan class=\"s1\">everyone\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/13053712334\">\u003cspan class=\"s1\">else\u003c/span>\u003c/a> \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/27826888485/johnny-depp-sherilyn-fenn\">in Hollywood\u003c/a>)\u003c/span>\u003c/span> — it’s all here, along with the pleasures of discovering historic couplings you had no idea existed (\u003ca href=\"http://oldloves.tumblr.com/post/98905664253/oldloves-liam-neeson-helen-mirren\">\u003cspan class=\"s1\">Liam Neeson and Helen Mirren\u003c/span>\u003c/a>, seriously?).\u003c/p>\n\u003cp class=\"p1\">It’s not just a reminder that famous people \u003ci>really\u003c/i> like to keep the gene pool shallow, but also a glimpse into a different era of celebrity, where actors looked \u003ca href=\"http://oldloves.tumblr.com/post/81529123712/gwyneth-paltrow-ben-affleck\">\u003cspan class=\"s1\">way less groomed\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/107234953373/susan-sarandon-tim-robbins-circa-1989\">\u003cspan class=\"s1\">paparazzi shots\u003c/span>\u003c/a> were unguarded and \u003ca href=\"http://oldloves.tumblr.com/post/94994030522/gary-oldman-isabella-rossellini\">\u003cspan class=\"s1\">Gary Oldman and Isabella Rossellini shared daschunds\u003c/span>\u003c/a>. So if, like me, you’re the kind of person who loves buying disconcertingly-stiff back issues of \u003ci>Us Weekly\u003c/i> from garage sales that have clearly spent the last decade in someone’s bathroom, call in sick tomorrow and give this Tumblr the time it deserves.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Barry McGee’s Needlepoint Carrot\u003c/h2>\n\u003cdiv> \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10464720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg\" alt=\"kfarrtwistcarrot-1\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>Barry McGee is a Bay Area luminary, renowned for his graffiti-rooted, eye-popping artwork, and it’s no secret that he’s \u003cspan class=\"s1\">\u003ca href=\"http://ww2.kqed.org/arts/2012/08/27/barry_mcgee_at_bampfa/\">one of my favorites\u003c/a>\u003c/span>. One of his clustered installations is currently on view as part of the Oakland Museum’s \u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-ca%20lifornia\">\u003ci>Fertile Ground\u003c/i>\u003c/a> exhibition. It bulges out of the wall like a “pimple,” as the artist has described, and is made up of countless framed paintings, photographs, or found objects.\u003c/p>\n\u003cp>The arrangement is different every time it’s exhibited, and this time I noticed an unexpected needlepoint carrot in the mix. This little stitched snack left me curious. Where did he find that carrot? Who made it? Is it a carrot or a yam? On a recent museum visit for a KQED video shoot, I geekily pointed it out to museum staff and anyone else who would listen. \u003cem>Fertile Ground\u003c/em> is open for another month, plenty of time for you to go find it!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/avatar-pic-e1426011256947.jpg\" alt=\"harold check\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/hcheck/\">\u003ci>Harold Check\u003c/i>\u003c/a>\u003cbr>Freelancer, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Internet Archive’s MS-DOS Games Collection\u003c/h2>\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/x1bcza1uAYs'\n title='//www.youtube.com/embed/x1bcza1uAYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a specific kind of nostalgia (the Germans probably have a word for it) that combines wistful affection with a head-smacking epiphany of long-forgotten excess. Boy howdy, did I have that feeling when I came across the \u003ca href=\"https://archive.org/details/softwarelibrary_msdos_games\">Internet Archive’s MS-DOS Games collection\u003c/a>.\u003c/p>\n\u003cp>Sure, the titles and launch-screen images would have been plenty to keep me endlessly scrolling through the 2,600+ games, mostly from the ’80s and ’90s. I could have spent hours chuckling over the days and weeks I “wasted” trying to master the timing of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Prince_of_Persia_1990\">Prince of Persia\u003c/a>\u003c/em> (those skidding stops!), or telling myself I’d just design one more level of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Lode_Runner_1983_1983\">Lode Runner\u003c/a>\u003c/em>. But, no, the geniuses behind the Internet Archive, completists that they are, have much more in store.\u003c/p>\n\u003cp>All of these games are \u003cem>playable\u003c/em>. In your browser. Yes, some are hamstrung by antiquated control schemes, and others are just shareware samples, not full games, but I would suggest that the point isn’t to relive the full experience of beating \u003cem>\u003ca href=\"https://archive.org/details/msdos_Castle_Wolfenstein_1984\">Castle Wolfenstein\u003c/a>\u003c/em>, but just to get the overpowering taste back in your mouth.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over the world’s worst Kickstarter campaigns, drag queens, a nasty little short story, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kickended\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-10442525 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg\" alt=\"Photodazzle\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-400x204.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-768x393.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-320x164.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle.jpeg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you’re like me, you couldn’t stop grousing when Kickstarter became a thing and your friends started begging for money on the internet so their band could go on tour. Or so they could start a kombucha company. Or so they could write a book, design clothes, develop an app, or adopt baby goats or whatever. Somehow, this unmitigated gall clogging everyone’s Facebook feed managed to be accepted as “innovative disruption,” a “way to connect with fans,” or “a new platform for creativity.” I still call it déclassé, which is why the site \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> provides me no end of catharsis. A hilarious collection of failed Kickstarter campaigns that ended without receiving any funding at all — like, not even one dime — \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> is a window into the truly terrible ideas conceived in the world and the audacity of those who post them to Kickstarter.\u003c/p>\n\u003cp>Pictured above is a campaign asking for $10,000 to \u003ca href=\"http://kickended.com/projects/1306378479/\" target=\"_blank\" rel=\"noopener\">glue rhinestones on existing photos\u003c/a>. Another campaign wants $10,000 to \u003ca href=\"http://kickended.com/projects/744123164/\" target=\"_blank\" rel=\"noopener\">put jewelry inside of candles\u003c/a>. Another campaign declares that $15,000 is needed to carry out God’s musical will (“God blessed me with a gift for music… \u003ca href=\"http://kickended.com/projects/1449094302/\" target=\"_blank\" rel=\"noopener\">but unfortunately it takes money\u003c/a>”). There are campaigns for “\u003ca href=\"http://kickended.com/projects/1490938965/\" target=\"_blank\" rel=\"noopener\">the safest baby diapur out there\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/370368235/\" target=\"_blank\" rel=\"noopener\">Leif Garrett – The Musical\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/1544769179/\" target=\"_blank\" rel=\"noopener\">Were gonna rap with 2 Chainz\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/crickitrene/\" target=\"_blank\" rel=\"noopener\">‘Born to Tears’ a book of life changing poetry\u003c/a>,” and oh, so much more, all very misguided and all 100% unfunded.\u003c/p>\n\u003cp>Go to \u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a>, repeatedly click “\u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Random Campaign\u003c/a>” up top, and lose hours of your life to internet schadenfreude.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kyle Abraham\u003c/h2>\n\u003cp>https://vimeo.com/55470300\u003c/p>\n\u003cp class=\"p1\">This week, I’m obsessed with dancer, choreographer and MacArthur Fellow \u003ca href=\"http://abrahaminmotion.org/\">\u003cspan class=\"s1\">Kyle Abraham\u003c/span>\u003c/a>. I will preface this with the fact that I am not usually a “dance person,” but after seeing \u003cem>\u003ca href=\"http://www.ybca.org/kyle-abraham-pavement\">Pavement\u003c/a>,\u003c/em> Abraham’s show at YBCA, I was super inspired by his \u003cspan class=\"s2\">politically minded, genre-bending \u003c/span>style of dance theater that consistently looks at the state of Black America, civil rights and freedom. His choreography and sound-scaping are mesmerizing and immersive, feeling more like a play than a dance performance, blending hip-hop sensibilities and modern dance to a soundtrack of opera, blues, electronica and even N.W.A. The \u003cem>Pavement\u003c/em> tour has left town, but you can still get hooked on Abraham’s work by watching the clip above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Nasty Little Short Story From Hilary Mantel\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10442284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg\" alt=\"assassination-thatcher\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-320x240.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea.jpeg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">My history nerd heart is most excited for \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/programs/wolf-hall/\">the BBC adaptation\u003c/a> of Hilary Mantel’s Tudor intrigue-a-thon \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Wolf_Hall\">Wolf Hall\u003c/a>\u003c/em>. To sate myself until its premiere on U.S. TV next month, I just re-read Mantel’s strangest, most compelling short story from her \u003cem>Assassination of Margaret Thatcher\u003c/em> collection: “\u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Winter Break\u003c/a>.” Barely skirting 2,000 words, this nasty little shocker about a vacationing couple in their airport cab is what the phrase “\u003ca href=\"http://idioms.thefreedictionary.com/a+sting+in+the+tail\">sting in the tail\u003c/a>” was invented for. \u003c/p>\n\u003cp>Her writing is typically flawless, but something’s up: its revisiting of the frequent Mantel theme of childlessness is so on-the-nose, the inevitable “gotcha” so blatant that I suspect (to borrow a line from \u003ca href=\"https://www.youtube.com/watch?v=QU0SEeQJy0c\">one of my favorite guilty pleasures\u003c/a>) it’s all “so overt it’s covert.” Even on second reading, I can’t quite work out exactly what Mantel is up to here, and I look forward to cracking it one day. \u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Read “Winter Break” online\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Return of \u003cem>RuPaul’s Drag Race\u003c/em>\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IZtIXDy1kz4\u003c/p>\n\u003cp>It’s been nine whole months since a new \u003cem>Drag Race\u003c/em> episode has aired, and this week saw the birth of 14 new drag queens! If you’ve never seen an episode of this show (best described as a cross between \u003cem>America’s Next Top Model,\u003c/em> \u003cem>Project Runway\u003c/em> and \u003cem>Pink Flamingos\u003c/em>), I feel sorry for you and want to help you see the light! The show in a nutshell: drag queens participate in ridiculous challenges (turning \u003ca href=\"http://www.therealstevegray.com/wp-content/uploads/rupauls-drag-race-season6-ep10-joslyn-bride-gremlin.jpg\">straight dudes into brides\u003c/a>, for example), while \u003ca href=\"http://24.media.tumblr.com/9cbbe83bc258709b6a982637a13e8e7d/tumblr_n3olfsfHlC1qlvwnco1_500.gif\">verbally\u003c/a> \u003ca href=\"http://i.imgur.com/PFnJggb.gif\">sparring\u003c/a> with one another. Each week, the bottom two girls are forced to lip-synch to the death.\u003c/p>\n\u003cp>If you don’t think drag is an art form, you’ll change your mind after watching how these men paint their faces and use costume and body illusions to become Amazonian queens. Oh, and did I mention it’s \u003ca href=\"https://www.youtube.com/watch?v=KBqrBnvnlLU\">f-ing hilarious\u003c/a>? I don’t watch other reality shows because this is all of them combined (think of all the space you’ll have on your DVR!). So here’s your mission, should you choose to accept it: marathon all previous six seasons and we’ll meet back here to discuss, okay? Okay.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over the world's worst Kickstarter campaigns, drag queens, a nasty little short story, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over the world’s worst Kickstarter campaigns, drag queens, a nasty little short story, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kickended\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-10442525 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg\" alt=\"Photodazzle\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-400x204.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-768x393.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-320x164.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle.jpeg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you’re like me, you couldn’t stop grousing when Kickstarter became a thing and your friends started begging for money on the internet so their band could go on tour. Or so they could start a kombucha company. Or so they could write a book, design clothes, develop an app, or adopt baby goats or whatever. Somehow, this unmitigated gall clogging everyone’s Facebook feed managed to be accepted as “innovative disruption,” a “way to connect with fans,” or “a new platform for creativity.” I still call it déclassé, which is why the site \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> provides me no end of catharsis. A hilarious collection of failed Kickstarter campaigns that ended without receiving any funding at all — like, not even one dime — \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> is a window into the truly terrible ideas conceived in the world and the audacity of those who post them to Kickstarter.\u003c/p>\n\u003cp>Pictured above is a campaign asking for $10,000 to \u003ca href=\"http://kickended.com/projects/1306378479/\" target=\"_blank\" rel=\"noopener\">glue rhinestones on existing photos\u003c/a>. Another campaign wants $10,000 to \u003ca href=\"http://kickended.com/projects/744123164/\" target=\"_blank\" rel=\"noopener\">put jewelry inside of candles\u003c/a>. Another campaign declares that $15,000 is needed to carry out God’s musical will (“God blessed me with a gift for music… \u003ca href=\"http://kickended.com/projects/1449094302/\" target=\"_blank\" rel=\"noopener\">but unfortunately it takes money\u003c/a>”). There are campaigns for “\u003ca href=\"http://kickended.com/projects/1490938965/\" target=\"_blank\" rel=\"noopener\">the safest baby diapur out there\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/370368235/\" target=\"_blank\" rel=\"noopener\">Leif Garrett – The Musical\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/1544769179/\" target=\"_blank\" rel=\"noopener\">Were gonna rap with 2 Chainz\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/crickitrene/\" target=\"_blank\" rel=\"noopener\">‘Born to Tears’ a book of life changing poetry\u003c/a>,” and oh, so much more, all very misguided and all 100% unfunded.\u003c/p>\n\u003cp>Go to \u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a>, repeatedly click “\u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Random Campaign\u003c/a>” up top, and lose hours of your life to internet schadenfreude.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kyle Abraham\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">This week, I’m obsessed with dancer, choreographer and MacArthur Fellow \u003ca href=\"http://abrahaminmotion.org/\">\u003cspan class=\"s1\">Kyle Abraham\u003c/span>\u003c/a>. I will preface this with the fact that I am not usually a “dance person,” but after seeing \u003cem>\u003ca href=\"http://www.ybca.org/kyle-abraham-pavement\">Pavement\u003c/a>,\u003c/em> Abraham’s show at YBCA, I was super inspired by his \u003cspan class=\"s2\">politically minded, genre-bending \u003c/span>style of dance theater that consistently looks at the state of Black America, civil rights and freedom. His choreography and sound-scaping are mesmerizing and immersive, feeling more like a play than a dance performance, blending hip-hop sensibilities and modern dance to a soundtrack of opera, blues, electronica and even N.W.A. The \u003cem>Pavement\u003c/em> tour has left town, but you can still get hooked on Abraham’s work by watching the clip above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Nasty Little Short Story From Hilary Mantel\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10442284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg\" alt=\"assassination-thatcher\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-320x240.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea.jpeg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">My history nerd heart is most excited for \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/programs/wolf-hall/\">the BBC adaptation\u003c/a> of Hilary Mantel’s Tudor intrigue-a-thon \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Wolf_Hall\">Wolf Hall\u003c/a>\u003c/em>. To sate myself until its premiere on U.S. TV next month, I just re-read Mantel’s strangest, most compelling short story from her \u003cem>Assassination of Margaret Thatcher\u003c/em> collection: “\u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Winter Break\u003c/a>.” Barely skirting 2,000 words, this nasty little shocker about a vacationing couple in their airport cab is what the phrase “\u003ca href=\"http://idioms.thefreedictionary.com/a+sting+in+the+tail\">sting in the tail\u003c/a>” was invented for. \u003c/p>\n\u003cp>Her writing is typically flawless, but something’s up: its revisiting of the frequent Mantel theme of childlessness is so on-the-nose, the inevitable “gotcha” so blatant that I suspect (to borrow a line from \u003ca href=\"https://www.youtube.com/watch?v=QU0SEeQJy0c\">one of my favorite guilty pleasures\u003c/a>) it’s all “so overt it’s covert.” Even on second reading, I can’t quite work out exactly what Mantel is up to here, and I look forward to cracking it one day. \u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Read “Winter Break” online\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Return of \u003cem>RuPaul’s Drag Race\u003c/em>\u003c/h2>\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/IZtIXDy1kz4'\n title='//www.youtube.com/embed/IZtIXDy1kz4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been nine whole months since a new \u003cem>Drag Race\u003c/em> episode has aired, and this week saw the birth of 14 new drag queens! If you’ve never seen an episode of this show (best described as a cross between \u003cem>America’s Next Top Model,\u003c/em> \u003cem>Project Runway\u003c/em> and \u003cem>Pink Flamingos\u003c/em>), I feel sorry for you and want to help you see the light! The show in a nutshell: drag queens participate in ridiculous challenges (turning \u003ca href=\"http://www.therealstevegray.com/wp-content/uploads/rupauls-drag-race-season6-ep10-joslyn-bride-gremlin.jpg\">straight dudes into brides\u003c/a>, for example), while \u003ca href=\"http://24.media.tumblr.com/9cbbe83bc258709b6a982637a13e8e7d/tumblr_n3olfsfHlC1qlvwnco1_500.gif\">verbally\u003c/a> \u003ca href=\"http://i.imgur.com/PFnJggb.gif\">sparring\u003c/a> with one another. Each week, the bottom two girls are forced to lip-synch to the death.\u003c/p>\n\u003cp>If you don’t think drag is an art form, you’ll change your mind after watching how these men paint their faces and use costume and body illusions to become Amazonian queens. Oh, and did I mention it’s \u003ca href=\"https://www.youtube.com/watch?v=KBqrBnvnlLU\">f-ing hilarious\u003c/a>? I don’t watch other reality shows because this is all of them combined (think of all the space you’ll have on your DVR!). So here’s your mission, should you choose to accept it: marathon all previous six seasons and we’ll meet back here to discuss, okay? Okay.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over the genesis of \u003cem>Wayne’s World\u003c/em>, Madonna’s fall at the Brits, a new cartoon that’s not just for kids, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Birth of Wayne Campbell\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ydJH5WOnL6o\u003c/p>\n\u003cp class=\"p1\">It may be a depressing indictment of \u003cem>Saturday Night Live\u003c/em> ’s current form, but I loved that the only truly funny part of the show’s 40th Anniversary last week came courtesy of \u003ca href=\"https://www.youtube.com/watch?v=BustEdWyqzk\">Mike Myers and Dana Carvey resurrecting Wayne’s World\u003c/a>. As a sincere, longtime fan who knows both spin-off movies by heart (my all-time happiest childhood memory, no joke, is when my parents pretended we were going out grocery shopping but took me to the movie theater to watch \u003cem>Wayne’s World\u003c/em> instead), discovering Mike Myers’ first outings in character as Wayne has brought me so much joy.\u003c/p>\n\u003cp class=\"p1\">A year before \u003cem>SNL\u003c/em>, Wayne made his debut in 1987 on Canadian TV variety show \u003ca href=\"http://en.wikipedia.org/wiki/It%27s_Only_Rock_%26_Roll_%28TV_series%29\">\u003cem>It’s Only Rock & Roll\u003c/em>\u003c/a> (as a ‘contest winner,’ no less) in his own recurring segment called Wayne’s Power Minute. From \u003ca href=\"https://www.youtube.com/watch?v=VqyPqmy4IAE\">the very first one\u003c/a>, he’s still basically the same loveably enthusiastic, incongruously florid Wayne, just with a strong Canadian accent and a slightly worse wig. All his \u003cem>It’s Only Rock & Roll\u003c/em> appearances make me laugh like a drain, but my favorite has to be ‘\u003ca href=\"https://www.youtube.com/watch?v=ydJH5WOnL6o\">Wayne’s Encyclopedia\u003c/a>,’ in which Wayne discusses his self-penned Encyclopedia Metallica, complete with ‘History of Metal’ biology flowcharts (“Amoeba → Protozoa → Zep”) and tips for living the metal life: “A Volvo is bogus.” With the self-indulgent horrors of the later \u003cem>Austin Powers\u003c/em> movies and \u003cem>The Love Guru\u003c/em>, it’s easy to forget Mike Myers used to be really funny.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Harris Wittels\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.funnyordie.com/embed/b10ee0bc16\" width=\"640\" height=\"400\" frameborder=\"0\" style=\"text-align:left;font-size:x-small;margin-top:0;width:640px;\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp class=\"p1\">Last week, the podcasting world felt the equivalent of a bombing when it lost one of its rising comic stars. Harris Wittels, who died last Thursday of a suspected overdose at the age of 30, was not just a writer on some of television’s funniest shows (\u003cem>Parks and Recreation\u003c/em>, \u003cem>Eastbound and Down\u003c/em>, \u003cem>The Sarah Silverman Program\u003c/em>), he was like a ringer for podcasts. He was one of those names that made me want to check out new shows on iTunes I had never heard of. And as for his own podcast, \u003ca href=\"http://www.earwolf.com/show/analyze-phish/\">Analyze Phish\u003c/a>, in which he tried to convince friends to like the band Phish, well, those 10 episodes will be some of the first entries into the Podcast Hall of Fame.\u003c/p>\n\u003cp class=\"p1\">Wittels was so witty he coined a term, “\u003ca href=\"https://twitter.com/humblebrag\">Humblebrag\u003c/a>,” for when one tries to be self-deprecating while bragging in order to keep appearing modest. Take that in for a second: he was 30 and he had already invented a word.\u003c/p>\n\u003cp>Googling Harris Wittels can lead into an Internet k-hole, but I highly suggest honoring his memory by reading \u003ca href=\"http://grantland.com/contributors/harris-wittels/\">his columns on Grantland\u003c/a> and \u003ca href=\"http://www.earwolf.com/person/harris-wittels/\">listening to his podcasts on Earwolf\u003c/a>, especially \u003ca href=\"http://www.earwolf.com/episode/farts-and-procreation/\">the first “Farts and Procreation” episode\u003c/a> of Comedy Bang Bang. And if that’s not enough to convince you to check out his stuff, just know that the Westboro Baptist Church \u003ca href=\"http://www.hollywoodreporter.com/news/comics-protest-westboro-baptist-church-777188\">made light of his death\u003c/a>. Don’t let them win!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Stone Quackers\u003c/h2>\n\u003cdiv>\u003c/div>\n\u003cp>https://www.youtube.com/watch?v=d4JRgBd4RWo&feature=youtu.be\u003c/p>\n\u003cp class=\"p1\">\u003cem>Stone Quackers\u003c/em> is a cartoon buddy comedy created by Ben Jones, a multi-faceted artist and key member of the influential art collective Paper Rad. Jones now works for Fox creating subversive cartoons, and his magnum opus is now featured on FXX (and available on Hulu!). \u003cem>Stone Quackers\u003c/em> follows pals Clay, Whit and Barf through trying times and epic goofs. It takes dramatic turns from sweet stories into dark, twisted humor, and you can tell the creators love what they’re making. They reference beloved ’80s TV production styles, and \u003ca href=\"https://www.youtube.com/watch?v=lwQ-G53mSfU&feature=youtu.be\">my favorite clip\u003c/a> shows Barf and Whit dancing to a Michael McDonald song to help Clay get over an ex-girlfriend. To call \u003cem>Stone Quackers\u003c/em> a stoner comedy wouldn’t do it justice. It’s really an art cartoon. \u003cstrong>Bonus:\u003c/strong> John C. Reilly voices a lovable supporting character, Officer Barry.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Madonna Has Fallen and She \u003cem>Can\u003c/em> Get Up\u003c/h2>\n\u003cp>https://twitter.com/mkdlisted/status/570709041699102721\u003c/p>\n\u003cp>Did you watch the Brit Awards yesterday? Yeah, I didn’t think so. \u003ca href=\"http://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a> \u003ca href=\"https://vine.co/v/O2mpO2BaOWd\">worked\u003c/a> \u003ca href=\"https://vine.co/v/O2mXL69YeIY\">it\u003c/a> to Kanye’s performance and \u003ca href=\"http://ww2.kqed.org/pop/2015/02/24/christina-aguilera-imitates-britney-spears-ed-sheeran-covers-dirrty/\">Ed Sheeran\u003c/a> won an award, but the real news of the night was what happened when Madonna took the stage in her adopted homeland to perform new single “Living for Love.” All was going swimmingly…until a dancer tugged on her cape, causing her to fall down a small flight of steps and land hard, dropping her mic. Madonna resisted immediately firing the person responsible, \u003ca href=\"https://www.youtube.com/watch?v=4uZz3mplca4\">unlike Beyoncé that one time\u003c/a>. Instead, she got up and kept singing live!\u003c/p>\n\u003cp>I’m not obsessed with this moment because she fell. My interest comes from the fact that she wasn’t lip-synching (even though most do these days) and that she kept going and that she probably doesn’t care what everyone will think about this or anything she does from here on. In this week’s \u003cem>Rolling Stone\u003c/em>, she opened up about ageism (which rears its ugly head in just about any article or conversation about her these days):\u003c/p>\n\u003cp>“It’s still the one area where you can totally discriminate against somebody….Only females, though…Women, generally, when they reach a certain age, have accepted that they’re not allowed to behave a certain way. But I don’t follow the rules. I never did, and I’m not going to start.”\u003c/p>\n\u003cp>I haven’t loved a Madonna album since 1998’s \u003cem>Ray of Light\u003c/em>. But I’m glad she’s still at it, unapologetic as ever, paving the way for women to do whatever they want, to fall and get back up again.\u003c/p>\n\u003cp>\u003cstrong>Shout out to my honorable-mention obsession:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=1EXKmlLVdv0\">Christina Aguilera singing like Britney Spears and Ed Sheeran singing like Christina Aguilera\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over the genesis of \u003cem>Wayne’s World\u003c/em>, Madonna’s fall at the Brits, a new cartoon that’s not just for kids, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Birth of Wayne Campbell\u003c/h2>\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/ydJH5WOnL6o'\n title='//www.youtube.com/embed/ydJH5WOnL6o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">It may be a depressing indictment of \u003cem>Saturday Night Live\u003c/em> ’s current form, but I loved that the only truly funny part of the show’s 40th Anniversary last week came courtesy of \u003ca href=\"https://www.youtube.com/watch?v=BustEdWyqzk\">Mike Myers and Dana Carvey resurrecting Wayne’s World\u003c/a>. As a sincere, longtime fan who knows both spin-off movies by heart (my all-time happiest childhood memory, no joke, is when my parents pretended we were going out grocery shopping but took me to the movie theater to watch \u003cem>Wayne’s World\u003c/em> instead), discovering Mike Myers’ first outings in character as Wayne has brought me so much joy.\u003c/p>\n\u003cp class=\"p1\">A year before \u003cem>SNL\u003c/em>, Wayne made his debut in 1987 on Canadian TV variety show \u003ca href=\"http://en.wikipedia.org/wiki/It%27s_Only_Rock_%26_Roll_%28TV_series%29\">\u003cem>It’s Only Rock & Roll\u003c/em>\u003c/a> (as a ‘contest winner,’ no less) in his own recurring segment called Wayne’s Power Minute. From \u003ca href=\"https://www.youtube.com/watch?v=VqyPqmy4IAE\">the very first one\u003c/a>, he’s still basically the same loveably enthusiastic, incongruously florid Wayne, just with a strong Canadian accent and a slightly worse wig. All his \u003cem>It’s Only Rock & Roll\u003c/em> appearances make me laugh like a drain, but my favorite has to be ‘\u003ca href=\"https://www.youtube.com/watch?v=ydJH5WOnL6o\">Wayne’s Encyclopedia\u003c/a>,’ in which Wayne discusses his self-penned Encyclopedia Metallica, complete with ‘History of Metal’ biology flowcharts (“Amoeba → Protozoa → Zep”) and tips for living the metal life: “A Volvo is bogus.” With the self-indulgent horrors of the later \u003cem>Austin Powers\u003c/em> movies and \u003cem>The Love Guru\u003c/em>, it’s easy to forget Mike Myers used to be really funny.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Harris Wittels\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.funnyordie.com/embed/b10ee0bc16\" width=\"640\" height=\"400\" frameborder=\"0\" style=\"text-align:left;font-size:x-small;margin-top:0;width:640px;\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp class=\"p1\">Last week, the podcasting world felt the equivalent of a bombing when it lost one of its rising comic stars. Harris Wittels, who died last Thursday of a suspected overdose at the age of 30, was not just a writer on some of television’s funniest shows (\u003cem>Parks and Recreation\u003c/em>, \u003cem>Eastbound and Down\u003c/em>, \u003cem>The Sarah Silverman Program\u003c/em>), he was like a ringer for podcasts. He was one of those names that made me want to check out new shows on iTunes I had never heard of. And as for his own podcast, \u003ca href=\"http://www.earwolf.com/show/analyze-phish/\">Analyze Phish\u003c/a>, in which he tried to convince friends to like the band Phish, well, those 10 episodes will be some of the first entries into the Podcast Hall of Fame.\u003c/p>\n\u003cp class=\"p1\">Wittels was so witty he coined a term, “\u003ca href=\"https://twitter.com/humblebrag\">Humblebrag\u003c/a>,” for when one tries to be self-deprecating while bragging in order to keep appearing modest. Take that in for a second: he was 30 and he had already invented a word.\u003c/p>\n\u003cp>Googling Harris Wittels can lead into an Internet k-hole, but I highly suggest honoring his memory by reading \u003ca href=\"http://grantland.com/contributors/harris-wittels/\">his columns on Grantland\u003c/a> and \u003ca href=\"http://www.earwolf.com/person/harris-wittels/\">listening to his podcasts on Earwolf\u003c/a>, especially \u003ca href=\"http://www.earwolf.com/episode/farts-and-procreation/\">the first “Farts and Procreation” episode\u003c/a> of Comedy Bang Bang. And if that’s not enough to convince you to check out his stuff, just know that the Westboro Baptist Church \u003ca href=\"http://www.hollywoodreporter.com/news/comics-protest-westboro-baptist-church-777188\">made light of his death\u003c/a>. Don’t let them win!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Stone Quackers\u003c/h2>\n\u003cdiv>\u003c/div>\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/d4JRgBd4RWo'\n title='//www.youtube.com/embed/d4JRgBd4RWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cem>Stone Quackers\u003c/em> is a cartoon buddy comedy created by Ben Jones, a multi-faceted artist and key member of the influential art collective Paper Rad. Jones now works for Fox creating subversive cartoons, and his magnum opus is now featured on FXX (and available on Hulu!). \u003cem>Stone Quackers\u003c/em> follows pals Clay, Whit and Barf through trying times and epic goofs. It takes dramatic turns from sweet stories into dark, twisted humor, and you can tell the creators love what they’re making. They reference beloved ’80s TV production styles, and \u003ca href=\"https://www.youtube.com/watch?v=lwQ-G53mSfU&feature=youtu.be\">my favorite clip\u003c/a> shows Barf and Whit dancing to a Michael McDonald song to help Clay get over an ex-girlfriend. To call \u003cem>Stone Quackers\u003c/em> a stoner comedy wouldn’t do it justice. It’s really an art cartoon. \u003cstrong>Bonus:\u003c/strong> John C. Reilly voices a lovable supporting character, Officer Barry.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Madonna Has Fallen and She \u003cem>Can\u003c/em> Get Up\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Did you watch the Brit Awards yesterday? Yeah, I didn’t think so. \u003ca href=\"http://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a> \u003ca href=\"https://vine.co/v/O2mpO2BaOWd\">worked\u003c/a> \u003ca href=\"https://vine.co/v/O2mXL69YeIY\">it\u003c/a> to Kanye’s performance and \u003ca href=\"http://ww2.kqed.org/pop/2015/02/24/christina-aguilera-imitates-britney-spears-ed-sheeran-covers-dirrty/\">Ed Sheeran\u003c/a> won an award, but the real news of the night was what happened when Madonna took the stage in her adopted homeland to perform new single “Living for Love.” All was going swimmingly…until a dancer tugged on her cape, causing her to fall down a small flight of steps and land hard, dropping her mic. Madonna resisted immediately firing the person responsible, \u003ca href=\"https://www.youtube.com/watch?v=4uZz3mplca4\">unlike Beyoncé that one time\u003c/a>. Instead, she got up and kept singing live!\u003c/p>\n\u003cp>I’m not obsessed with this moment because she fell. My interest comes from the fact that she wasn’t lip-synching (even though most do these days) and that she kept going and that she probably doesn’t care what everyone will think about this or anything she does from here on. In this week’s \u003cem>Rolling Stone\u003c/em>, she opened up about ageism (which rears its ugly head in just about any article or conversation about her these days):\u003c/p>\n\u003cp>“It’s still the one area where you can totally discriminate against somebody….Only females, though…Women, generally, when they reach a certain age, have accepted that they’re not allowed to behave a certain way. But I don’t follow the rules. I never did, and I’m not going to start.”\u003c/p>\n\u003cp>I haven’t loved a Madonna album since 1998’s \u003cem>Ray of Light\u003c/em>. But I’m glad she’s still at it, unapologetic as ever, paving the way for women to do whatever they want, to fall and get back up again.\u003c/p>\n\u003cp>\u003cstrong>Shout out to my honorable-mention obsession:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=1EXKmlLVdv0\">Christina Aguilera singing like Britney Spears and Ed Sheeran singing like Christina Aguilera\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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