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"content": "\u003cp>Harris Wittels died Thursday. He was a stand-up comic, a television writer/producer, a musician, a frequent and dependably hilarious guest on comedy podcasts, and an author who unleashed the concept of the #humblebrag upon the cultural landscape.\u003c/p>\n\u003cp>He was 30 years old.\u003c/p>\n\u003cp>When anyone dies, our sadness is tinged with something darker and more selfish; we resent the time we’ll never get to spend with that person, the days and months and years that will pile up without their presence.\u003c/p>\n\u003cp>When a comedian dies, particularly one so young, we feel that resentment more keenly, because laughter is a limited resource – one of a very few things with the power to make those days and months and years pass more easily.\u003c/p>\n\u003cp>You’ll see some writing today about Wittels’ coinage of the term \u003cem>humblebrag\u003c/em> – the tendency for people, celebrities especially, to express a distinctly performative brand of faux-humility on social media. It became a whole thing, the #humblebrag hashtag, one Wittels frequently expressed some misgivings about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harris Wittels died Thursday. He was a stand-up comic, a television writer/producer, a musician, a frequent and dependably hilarious guest on comedy podcasts, and an author who unleashed the concept of the #humblebrag upon the cultural landscape.\u003c/p>\n\u003cp>He was 30 years old.\u003c/p>\n\u003cp>When anyone dies, our sadness is tinged with something darker and more selfish; we resent the time we’ll never get to spend with that person, the days and months and years that will pile up without their presence.\u003c/p>\n\u003cp>When a comedian dies, particularly one so young, we feel that resentment more keenly, because laughter is a limited resource – one of a very few things with the power to make those days and months and years pass more easily.\u003c/p>\n\u003cp>You’ll see some writing today about Wittels’ coinage of the term \u003cem>humblebrag\u003c/em> – the tendency for people, celebrities especially, to express a distinctly performative brand of faux-humility on social media. It became a whole thing, the #humblebrag hashtag, one Wittels frequently expressed some misgivings about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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 2 Chainz shopping sprees, nihilist sandwiches, a 450-year-old choral work and more!\u003c/p>\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\">GQ’s Most Expensivest S***\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"390\" src=\"http://player.cnevids.com/embed/54204ffa69702d61b5010000/51097beb8ef9aff9f5000006\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Live like the 1% with 2 Chainz! This video series is oddly addictive. Maybe it is my morbid fascination with super expensive stuff (a $295 hamburger and a $2 million car, anyone?) that I will never be able to afford or the absurdity of the price tag or 2 Chainz’s expression as he gets the hard sell. I realize this is just another form of promotion and advertising, but I can’t stop watching!\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\">Thomas Tallis, Spem in alium\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=iT-ZAAi4UQQ\u003c/p>\n\u003cp class=\"p1\">Strictly speaking, I’ve been ‘obsessed’ with this gorgeous 450-year-old choral work for years. Thanks to an adolescent combination of insomnia and a precious tape-radio that received a particularly strong signal from the local classical station, early modern choral music (Tallis, Allegri, Byrd) is my lifelong jam, and I still remember hearing \u003ci>Spem in Alium\u003c/i> for this first time like you’d remember falling out of a tree.\u003c/p>\n\u003cp class=\"p1\">Written around 1570 for an unbelievable 40 voices, which overlap, build and soar for ten overwhelming minutes, \u003ci>Spem in Alium\u003c/i> is almost unhumanly beautiful. (There are umpteen renditions out there, by the way, and \u003ca href=\"https://www.youtube.com/watch?v=iT-ZAAi4UQQ\">\u003cspan class=\"s1\">this one\u003c/span>\u003c/a> by the Tallis Scholars is my favorite for its pacing.) It’s a rare month that goes by without me listening to this on full blast at least once, but I’ll be honest: with the inescapable release of \u003ca href=\"http://www.npr.org/2015/02/12/385726801/fifty-shades-director-explores-passion-performance-and-control\">\u003cspan class=\"s1\">a \u003c/span>\u003cspan class=\"s2\">\u003ci>certain\u003c/i>\u003c/span>\u003cspan class=\"s1\"> movie\u003c/span>\u003c/a> on Valentine’s Day, what reminded me to turn it up this week was remembering the horror of seeing \u003ci>my \u003c/i>beloved \u003ci>Spem \u003c/i>slapped with an “As featured in \u003ci>Fifty Shades of Grey\u003c/i>!” banner on Spotify last year. Yes, apparently a Renaissance masterpiece makes \u003ca href=\"http://www.npr.org/blogs/deceptivecadence/2012/07/11/156604704/how-is-fifty-shades-of-grey-selling-classical-music\">\u003cspan class=\"s1\">a ‘special appearance’ in the book\u003c/span>\u003c/a> (although not the movie?) and I dread to think how, but you know what: I’ve gotten over it. Frankly, we can all use a reminder not to be a tedious snob about how and where people discover the good stuff.\u003c/p>\n\u003cp class=\"p2\">\n\u003c/p>\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\">Nihilist Arby’s\u003c/h2>\n\u003cp>https://twitter.com/nihilist_arbys/status/563495213440569344\u003c/p>\n\u003cp class=\"p1\">Oh yeah, that’s the stuff — the kind of content that makes you glad the Internet exists. When I look back, I don’t think I learned what nihilism was in school; I remember first hearing the term in \u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">a Rancid song\u003c/a>. But you don’t need to know what the doctrine of a 1900s revolutionary party in Russia is about to see the humor in this Twitter feed. It’s just lousy with dark humor, built on a simple formula: Arby’s references and declarations that life is meaningless.\u003c/p>\n\u003cp class=\"p1\">For example:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Drain the blood, cure and slice the flesh, season and fry the potatoes, feed them the sugar water. Be born. Toil. Die. Arby’s. We sell food.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/560578124745027584\">January 28, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Roses will die. Violets will too. May as well try Arby’s cordon bleu.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/560077217141911554\">January 27, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>The birth of your child, your first snowfall, a shooting star: All meaningless in the face of the void. Arby’s: may as well order the large.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/565642097794232320\">February 11, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp class=\"p1\">And for the tweets you don’t find funny, imagine the words coming from a gigantic Arby’s sandwich, its bun full of graying roast beef, and thick globs of cheddar cheese dripping and falling from the sammie’s flapping maw. It adds a second level of enjoyment to tweets like “I’m thinkin life is meaningless. I’m thinkin the universe is a giant random accident. I’m thinkin f**k everything. I’m thinkin Arby’s.” Follow \u003ca href=\"https://twitter.com/nihilist_arbys\">this beautiful feed\u003c/a>!\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\">Pop Stars’ Avant-Garde Accessories\u003c/h2>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//player.theplatform.com/p/NnzsPC/widget/select/media/T_nW_Z0f87Xx?carouselID=148621\" width=\"601\" height=\"338\" frameborder=\"0\" seamless=\"seamless\" allowfullscreen=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp class=\"p1\">SNL isn’t usually mentioned in the same sentence as avant-garde, but the variety show’s 40th Anniversary bash went there. Kanye West opened his medley by lying on the floor and singing into the camera, while wearing piercing blue contact lenses. Mrs. Kanye West \u003ca href=\"https://instagram.com/p/zJjai1OS0U/?modal=true&utm_source=partner&utm_medium=embed&utm_campaign=photo\">also sported some blue contacts\u003c/a> on social media in solidarity (or socio-political commentary?).\u003c/p>\n\u003cp class=\"p1\">Not to be outdone, Sia wore a poofy blond mop. She notoriously eschews the spotlight and has found many creative ways to avoid it (stand-ins and black-light paint, to name a few), but she seems to have hit her stride with the wig that looks like a souped-up Andy Warhol caricature, or just an exaggerated version of herself. While many entertainers are known for quirky costumes and showy props, something about these disguises feels more artistic than the average pop-music spectacle. Or maybe I’m just hoping.\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\">Everything about Ruth Bader Ginsburg\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"426\" src=\"http://video.pbs.org/viralplayer/2365419697\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There’s nothing not to like about Ruth Bader Ginsburg. She’s an unapologetic feminist in the midst of colleagues who are…not feminists. She wears cute gloves and jabots. She simply \u003ca href=\"http://www1.pictures.zimbio.com/gi/Ruth+Bader+Ginsburg+President+Obama+Delivers+xeNNK5rd9CFl.jpg\">cannot hide\u003c/a> her undying love for Obama. She is 81 and can do 20 push ups. Her dissents are so bold they should come with an “Oh, Snap!” disclaimer. And on and on.\u003c/p>\n\u003cp>My obsession with RBG is always somewhere right beneath the surface, but became particularly present this week, as she’s been on a media and speaking tour. When talking to students at Georgetown University, she mentioned the FAQ of when there will be “enough” women on the Supreme Court and shared her answer: 9 out of 9. Take that, patriarchy! She also shared this bit of trivia: “If I could have any talent in the world, I would be a great diva.” You thought that was a genius quote? Just you wait. When asked about her nap during the State of the Union, she confessed: “I was not 100% sober.” Stop it, Ruth, you’re killing us!\u003c/p>\n\u003cp>But, like Miley, she can’t/won’t stop; Ginsburg appeared on MSNBC for \u003ca href=\"http://www.msnbc.com/msnbc/watch/meet-justice-ruth-bader-ginsburg-400410691740\">a 30 minute interview\u003c/a> about everything from her opinions on people who get her face tattooed on their bodies (she’s more into piercings) to her opinions on more serious topics like Citizens United and Hobby Lobby (“Wrong” and “Wrong again”). I could spend hours listening to her talk (and I have, thanks to YouTube). Before you get lost in a click hole of RBG videos, \u003ca href=\"http://ww2.kqed.org/pop/2013/06/20/little-known-facts-about-supreme-court-justices-prop8-doma-scalia-ginsburg/\">check out these little known facts about her and the other Supreme Court Justices\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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"excerpt": "This week, the KQED Arts gang is freaking out over 2 Chainz shopping sprees, nihilist sandwiches, a 450-year-old choral work, 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 2 Chainz shopping sprees, nihilist sandwiches, a 450-year-old choral work and more!\u003c/p>\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\">GQ’s Most Expensivest S***\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"390\" src=\"http://player.cnevids.com/embed/54204ffa69702d61b5010000/51097beb8ef9aff9f5000006\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Live like the 1% with 2 Chainz! This video series is oddly addictive. Maybe it is my morbid fascination with super expensive stuff (a $295 hamburger and a $2 million car, anyone?) that I will never be able to afford or the absurdity of the price tag or 2 Chainz’s expression as he gets the hard sell. I realize this is just another form of promotion and advertising, but I can’t stop watching!\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\">Thomas Tallis, Spem in alium\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/iT-ZAAi4UQQ'\n title='//www.youtube.com/embed/iT-ZAAi4UQQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Strictly speaking, I’ve been ‘obsessed’ with this gorgeous 450-year-old choral work for years. Thanks to an adolescent combination of insomnia and a precious tape-radio that received a particularly strong signal from the local classical station, early modern choral music (Tallis, Allegri, Byrd) is my lifelong jam, and I still remember hearing \u003ci>Spem in Alium\u003c/i> for this first time like you’d remember falling out of a tree.\u003c/p>\n\u003cp class=\"p1\">Written around 1570 for an unbelievable 40 voices, which overlap, build and soar for ten overwhelming minutes, \u003ci>Spem in Alium\u003c/i> is almost unhumanly beautiful. (There are umpteen renditions out there, by the way, and \u003ca href=\"https://www.youtube.com/watch?v=iT-ZAAi4UQQ\">\u003cspan class=\"s1\">this one\u003c/span>\u003c/a> by the Tallis Scholars is my favorite for its pacing.) It’s a rare month that goes by without me listening to this on full blast at least once, but I’ll be honest: with the inescapable release of \u003ca href=\"http://www.npr.org/2015/02/12/385726801/fifty-shades-director-explores-passion-performance-and-control\">\u003cspan class=\"s1\">a \u003c/span>\u003cspan class=\"s2\">\u003ci>certain\u003c/i>\u003c/span>\u003cspan class=\"s1\"> movie\u003c/span>\u003c/a> on Valentine’s Day, what reminded me to turn it up this week was remembering the horror of seeing \u003ci>my \u003c/i>beloved \u003ci>Spem \u003c/i>slapped with an “As featured in \u003ci>Fifty Shades of Grey\u003c/i>!” banner on Spotify last year. Yes, apparently a Renaissance masterpiece makes \u003ca href=\"http://www.npr.org/blogs/deceptivecadence/2012/07/11/156604704/how-is-fifty-shades-of-grey-selling-classical-music\">\u003cspan class=\"s1\">a ‘special appearance’ in the book\u003c/span>\u003c/a> (although not the movie?) and I dread to think how, but you know what: I’ve gotten over it. Frankly, we can all use a reminder not to be a tedious snob about how and where people discover the good stuff.\u003c/p>\n\u003cp class=\"p2\">\n\u003c/p>\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\">Nihilist Arby’s\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"p1\">Oh yeah, that’s the stuff — the kind of content that makes you glad the Internet exists. When I look back, I don’t think I learned what nihilism was in school; I remember first hearing the term in \u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">a Rancid song\u003c/a>. But you don’t need to know what the doctrine of a 1900s revolutionary party in Russia is about to see the humor in this Twitter feed. It’s just lousy with dark humor, built on a simple formula: Arby’s references and declarations that life is meaningless.\u003c/p>\n\u003cp class=\"p1\">For example:\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Drain the blood, cure and slice the flesh, season and fry the potatoes, feed them the sugar water. Be born. Toil. Die. Arby’s. We sell food.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/560578124745027584\">January 28, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Roses will die. Violets will too. May as well try Arby’s cordon bleu.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/560077217141911554\">January 27, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>The birth of your child, your first snowfall, a shooting star: All meaningless in the face of the void. Arby’s: may as well order the large.\u003c/p>\n\u003cp>— Nihilist Arby’s (@nihilist_arbys) \u003ca href=\"https://twitter.com/nihilist_arbys/status/565642097794232320\">February 11, 2015\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp class=\"p1\">And for the tweets you don’t find funny, imagine the words coming from a gigantic Arby’s sandwich, its bun full of graying roast beef, and thick globs of cheddar cheese dripping and falling from the sammie’s flapping maw. It adds a second level of enjoyment to tweets like “I’m thinkin life is meaningless. I’m thinkin the universe is a giant random accident. I’m thinkin f**k everything. I’m thinkin Arby’s.” Follow \u003ca href=\"https://twitter.com/nihilist_arbys\">this beautiful feed\u003c/a>!\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\">Pop Stars’ Avant-Garde Accessories\u003c/h2>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//player.theplatform.com/p/NnzsPC/widget/select/media/T_nW_Z0f87Xx?carouselID=148621\" width=\"601\" height=\"338\" frameborder=\"0\" seamless=\"seamless\" allowfullscreen=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp class=\"p1\">SNL isn’t usually mentioned in the same sentence as avant-garde, but the variety show’s 40th Anniversary bash went there. Kanye West opened his medley by lying on the floor and singing into the camera, while wearing piercing blue contact lenses. Mrs. Kanye West \u003ca href=\"https://instagram.com/p/zJjai1OS0U/?modal=true&utm_source=partner&utm_medium=embed&utm_campaign=photo\">also sported some blue contacts\u003c/a> on social media in solidarity (or socio-political commentary?).\u003c/p>\n\u003cp class=\"p1\">Not to be outdone, Sia wore a poofy blond mop. She notoriously eschews the spotlight and has found many creative ways to avoid it (stand-ins and black-light paint, to name a few), but she seems to have hit her stride with the wig that looks like a souped-up Andy Warhol caricature, or just an exaggerated version of herself. While many entertainers are known for quirky costumes and showy props, something about these disguises feels more artistic than the average pop-music spectacle. Or maybe I’m just hoping.\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\">Everything about Ruth Bader Ginsburg\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"426\" src=\"http://video.pbs.org/viralplayer/2365419697\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There’s nothing not to like about Ruth Bader Ginsburg. She’s an unapologetic feminist in the midst of colleagues who are…not feminists. She wears cute gloves and jabots. She simply \u003ca href=\"http://www1.pictures.zimbio.com/gi/Ruth+Bader+Ginsburg+President+Obama+Delivers+xeNNK5rd9CFl.jpg\">cannot hide\u003c/a> her undying love for Obama. She is 81 and can do 20 push ups. Her dissents are so bold they should come with an “Oh, Snap!” disclaimer. And on and on.\u003c/p>\n\u003cp>My obsession with RBG is always somewhere right beneath the surface, but became particularly present this week, as she’s been on a media and speaking tour. When talking to students at Georgetown University, she mentioned the FAQ of when there will be “enough” women on the Supreme Court and shared her answer: 9 out of 9. Take that, patriarchy! She also shared this bit of trivia: “If I could have any talent in the world, I would be a great diva.” You thought that was a genius quote? Just you wait. When asked about her nap during the State of the Union, she confessed: “I was not 100% sober.” Stop it, Ruth, you’re killing us!\u003c/p>\n\u003cp>But, like Miley, she can’t/won’t stop; Ginsburg appeared on MSNBC for \u003ca href=\"http://www.msnbc.com/msnbc/watch/meet-justice-ruth-bader-ginsburg-400410691740\">a 30 minute interview\u003c/a> about everything from her opinions on people who get her face tattooed on their bodies (she’s more into piercings) to her opinions on more serious topics like Citizens United and Hobby Lobby (“Wrong” and “Wrong again”). I could spend hours listening to her talk (and I have, thanks to YouTube). Before you get lost in a click hole of RBG videos, \u003ca href=\"http://ww2.kqed.org/pop/2013/06/20/little-known-facts-about-supreme-court-justices-prop8-doma-scalia-ginsburg/\">check out these little known facts about her and the other Supreme Court Justices\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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"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 Richard Simmons’ Facebook page, Play-Doh dresses, the Spice Girls leak, and more!\u003c/p>\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\">Hannibal Buress\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=zXvJqiyiMqQ\u003c/p>\n\u003cp>I can barely squeak out the words to explain how excited I am to see comedian \u003ca href=\"http://www.cityboxoffice.com/eventperformances.asp?evt=2009\">Hannibal Buress at the Nourse Theater\u003c/a> on Feb. 26. You may recognize him as Lincoln from everyone’s new favorite female-driven comedy series, \u003cem>Broad City\u003c/em>, or from the recent headlines about Bill Cosby (his material about the rape allegations was a catalyst for the recent media frenzy). I have never laughed so hard as I did when I listened to Buress’s comedy albums, \u003cem>My Name is Hannibal\u003c/em> and \u003cem>Animal Furnace\u003c/em>. So do yourself a favor and check out his performance on \u003cem>The Tonight Show\u003c/em> from last year that focuses on his trip to New Orleans, or just lose yourself in the video section on his website. Most importantly, get his albums or \u003ca href=\"http://www.cityboxoffice.com/eventperformances.asp?evt=2009\" target=\"_blank\" rel=\"noopener\">tickets to his show\u003c/a> (a second one was added due to demand)! If laughter is the best medicine, Hannibal Buress should be paid a doctor’s salary.\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\">Richard Simmons’ Facebook page\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=vhZ2fYQj6IM\u003c/p>\n\u003cp class=\"p1\">When I was in high school, there was a moment when my P.E. teacher was in flux and so we had a substitute that, honest-to-God, would use up her class time by putting on tapes of \u003cem>Sweatin’ to the Oldies\u003c/em>. At the time I had a metabolism that was equal to hosting a tapeworm so I didn’t need the workout, but I could see the appeal of the long-running series. When watching the scrawny, unabashedly goofy Simmons, clad in sequined tank tops and jogging shorts (emphasis on \u003cem>short\u003c/em>), dancing around with a group of people that would never even be considered for an aerobic exercise show today, it was easy to forget the “work” part of “workout” and find that an hour-long class would be over in a flash.\u003c/p>\n\u003cp class=\"p1\">Fast-forward to now, when every trip to a restaurant ends in a shame spiral (yet I still eat out all the time), and responsibilities have sucked away any and all “me-time.” The most consistent interactions with a gym I get nowadays are the photos from Simmons’ Facebook feed, which never fail to exercise my smile muscles, but they also do the favor of reminding me that I should care about myself. So yes, good job, Richard, all of \u003ca href=\"https://www.facebook.com/TheWeightSaint/photos/a.10150431630035227.630937.139080040226/10155284741500227/?type=1\" target=\"_blank\" rel=\"noopener\">the super weird pics of you wearing outlandish headgear\u003c/a> while making funny faces are doing their job and making me want to squeeze in a workout. Thank you for that. Crave a good sweat over at \u003ca href=\"https://www.facebook.com/TheWeightSaint\" target=\"_blank\" rel=\"noopener\">Richard Simmons’ Facebook\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\">New Spice Girls Songs Leak, 15 Years Later\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ZlueLcSAgoo\u003c/p>\n\u003cp>They say you never really get over your first loves. For you it might have been your hot next door neighbor, but for me it was the Spice Girls. The first time I saw their \u003ca href=\"http://ww2.kqed.org/pop/2014/07/08/wannabe-turns-18-today-and-youve-never-been-older/\" target=\"_blank\" rel=\"noopener\">debut music video for “Wannabe”\u003c/a>, I was floored by how colorful and joyous their empowerment was. It was candy-coated feminism and I was on a sugar high from it for the next three years. My middle-school classmates voted me “Most Likely to Be a Spice Girl” to make fun of me for being gay, but I took it as a compliment. The Spice Girls served as an escape from homophobic jerks and represented an aspiration: that I could someday be as bold as them.\u003c/p>\n\u003cp>So you can imagine my excitement when four unreleased Spice Girls songs from the ’90s leaked yesterday. Are they any good? Does it matter? What’s important is that the Spice Girls bring us back to a simpler time, one of girl power and positivity and being whomever you want to be. Twenty years after they first hit the scene, we could still use all of that. \u003ca href=\"http://ww2.kqed.org/pop/spice-girls-songs-leak-spice-up-your-life-with-these-4-unreleased-demos-girl-power-anthems-listen\" target=\"_blank\" rel=\"noopener\">Listen to all four songs\u003c/a> and rekindle that old Spice Girls flame.\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 How Did This Get Made? Podcast\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=zXzL224UKBc\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/84354829″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp class=\"p1\">Experience has taught me that comedy podcasts are the best way to make long, tedious car journeys seem shorter, and binge-consuming several episodes of this very funny discussion series about very bad movies made a recent slog down Hwy 1 in one-foot visibility virtually \u003ci>fly \u003c/i>by. In each episode, comics Paul Scheer, June Diane Raphael and Jason Mantzoukas (plus special guests) watch a gloriously dreadful movie like \u003ci>The Devil’s Advocate\u003c/i>, \u003ci>Anaconda \u003c/i>or Neil LaBute’s remake of \u003ci>The Wicker Man\u003c/i>, then get together to discuss the burning question of the title: how did something so nonsensical, badly acted or tasteless like this ever get off the ground, let alone onto your screen?\u003c/p>\n\u003cp class=\"p1\">Alongside the incredulous scene-by-scene commentary, there’s some genuinely fascinating “inside baseball” nuggets for movie dweebs like me about the missteps that lead to these cinematic catastrophes. (My favorites so far: Jackie Chan was going to play the Wesley Snipes character in \u003ci>Demolition Man\u003c/i>, and there was an apparently quite good Michael Crichton source novel for 1995’s \u003ci>Congo\u003c/i>, but nobody involved in the movie bothered to read it.) As a sincere appreciator of this stuff, I cannot wait for my next episode: Nic Cage’s 2011 horror (in all senses) \u003ci>Season of the Witch\u003c/i>. \u003ca href=\"http://www.earwolf.com/show/how-did-this-get-made/\" target=\"_blank\" rel=\"noopener\">Listen up over at Earwolf\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\">\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 Wacky Lady Who Makes Play-Doh Dresses for Princess Dolls\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DmGZslmlLRQ\u003c/p>\n\u003cp>Instructional YouTube videos have saved my adult life many a time, be they for replacing an iPhone screen or bleeding a master cylinder, but YouTube user DC Toys Collector caters to a different demographic—specifically, toddlers. \u003cem>7 Disney Princess MagiClip Collection Tiana Rapunzel Cinderella Magic-Clip Play-Doh-Plus Sparkle\u003c/em> is a video that’s been viewed nearly 20 million times, which is impossible to believe until you actually watch the thing. Basically, the host plays with Disney princess dolls and makes dresses for them out of Play-Doh. No big deal, right? Except that this stuff is toddler gold, and she’s got a soothing, congenial delivery to her voice that’s utterly hypnotic for adults as well. Skip to 5:26, listen to her say, “Woooowww, this dress came out really pretty” and tell me you don’t want to hear her read every audiobook in the world. The phrase “Woooowww, this ________ came out really pretty” has entered into my everyday lexicon, so if you hear me say it in casual conversation, well…now you know where it came from.\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\">Gary Kamiya’s Cool Gray City of Love\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10385723\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/coolcitycrop.jpg\" alt=\"coolcitycrop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/coolcitycrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/coolcitycrop-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp class=\"p1\">If you aren’t already enamored with our fair city, this book will make you fall in love with San Francisco in no time. Author Gary Kamiya takes you on a sight-seeing escapade bringing history, local lore, natural science, politics and street level conversation to life. You will never look at our neighborhoods, parks, and waterfronts in the same way. I’ve been forcing myself to read only a few chapters a night so I don’t devour it in one sitting. When was the last time that you explored a new part of San Francisco? This book is the perfect jolt for the jaded local who calls this city home.\u003c/p>\n\u003cp class=\"p1\">Also, Gary Kamiya is working with \u003ca href=\"https://www.detour.com/\">\u003cspan class=\"s1\">Detour\u003c/span>\u003c/a>, an app that offers audio walks in San Francisco that reveal hidden stories, people and places. \u003ca href=\"https://www.detour.com/detours/cool-gray-city\">\u003cspan class=\"s1\">Cool Gray City launched on Detour\u003c/span>\u003c/a> a few weeks back. Can’t wait to take his tour! \u003ca href=\"http://audio.californiareport.org/archive/R201308021630/d\" target=\"_blank\" rel=\"noopener\">Check out a review\u003c/a> of Kamiya’s book from \u003cem>The California Report.\u003c/em>\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 Richard Simmons' Facebook page, Play-Doh dresses, the Spice Girls leak, 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 Richard Simmons’ Facebook page, Play-Doh dresses, the Spice Girls leak, and more!\u003c/p>\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\">Hannibal Buress\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/zXvJqiyiMqQ'\n title='//www.youtube.com/embed/zXvJqiyiMqQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I can barely squeak out the words to explain how excited I am to see comedian \u003ca href=\"http://www.cityboxoffice.com/eventperformances.asp?evt=2009\">Hannibal Buress at the Nourse Theater\u003c/a> on Feb. 26. You may recognize him as Lincoln from everyone’s new favorite female-driven comedy series, \u003cem>Broad City\u003c/em>, or from the recent headlines about Bill Cosby (his material about the rape allegations was a catalyst for the recent media frenzy). I have never laughed so hard as I did when I listened to Buress’s comedy albums, \u003cem>My Name is Hannibal\u003c/em> and \u003cem>Animal Furnace\u003c/em>. So do yourself a favor and check out his performance on \u003cem>The Tonight Show\u003c/em> from last year that focuses on his trip to New Orleans, or just lose yourself in the video section on his website. Most importantly, get his albums or \u003ca href=\"http://www.cityboxoffice.com/eventperformances.asp?evt=2009\" target=\"_blank\" rel=\"noopener\">tickets to his show\u003c/a> (a second one was added due to demand)! If laughter is the best medicine, Hannibal Buress should be paid a doctor’s salary.\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\">Richard Simmons’ Facebook page\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/vhZ2fYQj6IM'\n title='//www.youtube.com/embed/vhZ2fYQj6IM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">When I was in high school, there was a moment when my P.E. teacher was in flux and so we had a substitute that, honest-to-God, would use up her class time by putting on tapes of \u003cem>Sweatin’ to the Oldies\u003c/em>. At the time I had a metabolism that was equal to hosting a tapeworm so I didn’t need the workout, but I could see the appeal of the long-running series. When watching the scrawny, unabashedly goofy Simmons, clad in sequined tank tops and jogging shorts (emphasis on \u003cem>short\u003c/em>), dancing around with a group of people that would never even be considered for an aerobic exercise show today, it was easy to forget the “work” part of “workout” and find that an hour-long class would be over in a flash.\u003c/p>\n\u003cp class=\"p1\">Fast-forward to now, when every trip to a restaurant ends in a shame spiral (yet I still eat out all the time), and responsibilities have sucked away any and all “me-time.” The most consistent interactions with a gym I get nowadays are the photos from Simmons’ Facebook feed, which never fail to exercise my smile muscles, but they also do the favor of reminding me that I should care about myself. So yes, good job, Richard, all of \u003ca href=\"https://www.facebook.com/TheWeightSaint/photos/a.10150431630035227.630937.139080040226/10155284741500227/?type=1\" target=\"_blank\" rel=\"noopener\">the super weird pics of you wearing outlandish headgear\u003c/a> while making funny faces are doing their job and making me want to squeeze in a workout. Thank you for that. Crave a good sweat over at \u003ca href=\"https://www.facebook.com/TheWeightSaint\" target=\"_blank\" rel=\"noopener\">Richard Simmons’ Facebook\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\">New Spice Girls Songs Leak, 15 Years Later\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/ZlueLcSAgoo'\n title='//www.youtube.com/embed/ZlueLcSAgoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They say you never really get over your first loves. For you it might have been your hot next door neighbor, but for me it was the Spice Girls. The first time I saw their \u003ca href=\"http://ww2.kqed.org/pop/2014/07/08/wannabe-turns-18-today-and-youve-never-been-older/\" target=\"_blank\" rel=\"noopener\">debut music video for “Wannabe”\u003c/a>, I was floored by how colorful and joyous their empowerment was. It was candy-coated feminism and I was on a sugar high from it for the next three years. My middle-school classmates voted me “Most Likely to Be a Spice Girl” to make fun of me for being gay, but I took it as a compliment. The Spice Girls served as an escape from homophobic jerks and represented an aspiration: that I could someday be as bold as them.\u003c/p>\n\u003cp>So you can imagine my excitement when four unreleased Spice Girls songs from the ’90s leaked yesterday. Are they any good? Does it matter? What’s important is that the Spice Girls bring us back to a simpler time, one of girl power and positivity and being whomever you want to be. Twenty years after they first hit the scene, we could still use all of that. \u003ca href=\"http://ww2.kqed.org/pop/spice-girls-songs-leak-spice-up-your-life-with-these-4-unreleased-demos-girl-power-anthems-listen\" target=\"_blank\" rel=\"noopener\">Listen to all four songs\u003c/a> and rekindle that old Spice Girls flame.\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 How Did This Get Made? Podcast\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/zXzL224UKBc'\n title='//www.youtube.com/embed/zXzL224UKBc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/84354829″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/84354829″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"p1\">Experience has taught me that comedy podcasts are the best way to make long, tedious car journeys seem shorter, and binge-consuming several episodes of this very funny discussion series about very bad movies made a recent slog down Hwy 1 in one-foot visibility virtually \u003ci>fly \u003c/i>by. In each episode, comics Paul Scheer, June Diane Raphael and Jason Mantzoukas (plus special guests) watch a gloriously dreadful movie like \u003ci>The Devil’s Advocate\u003c/i>, \u003ci>Anaconda \u003c/i>or Neil LaBute’s remake of \u003ci>The Wicker Man\u003c/i>, then get together to discuss the burning question of the title: how did something so nonsensical, badly acted or tasteless like this ever get off the ground, let alone onto your screen?\u003c/p>\n\u003cp class=\"p1\">Alongside the incredulous scene-by-scene commentary, there’s some genuinely fascinating “inside baseball” nuggets for movie dweebs like me about the missteps that lead to these cinematic catastrophes. (My favorites so far: Jackie Chan was going to play the Wesley Snipes character in \u003ci>Demolition Man\u003c/i>, and there was an apparently quite good Michael Crichton source novel for 1995’s \u003ci>Congo\u003c/i>, but nobody involved in the movie bothered to read it.) As a sincere appreciator of this stuff, I cannot wait for my next episode: Nic Cage’s 2011 horror (in all senses) \u003ci>Season of the Witch\u003c/i>. \u003ca href=\"http://www.earwolf.com/show/how-did-this-get-made/\" target=\"_blank\" rel=\"noopener\">Listen up over at Earwolf\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\">\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 Wacky Lady Who Makes Play-Doh Dresses for Princess Dolls\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/DmGZslmlLRQ'\n title='//www.youtube.com/embed/DmGZslmlLRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Instructional YouTube videos have saved my adult life many a time, be they for replacing an iPhone screen or bleeding a master cylinder, but YouTube user DC Toys Collector caters to a different demographic—specifically, toddlers. \u003cem>7 Disney Princess MagiClip Collection Tiana Rapunzel Cinderella Magic-Clip Play-Doh-Plus Sparkle\u003c/em> is a video that’s been viewed nearly 20 million times, which is impossible to believe until you actually watch the thing. Basically, the host plays with Disney princess dolls and makes dresses for them out of Play-Doh. No big deal, right? Except that this stuff is toddler gold, and she’s got a soothing, congenial delivery to her voice that’s utterly hypnotic for adults as well. Skip to 5:26, listen to her say, “Woooowww, this dress came out really pretty” and tell me you don’t want to hear her read every audiobook in the world. The phrase “Woooowww, this ________ came out really pretty” has entered into my everyday lexicon, so if you hear me say it in casual conversation, well…now you know where it came from.\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\">Gary Kamiya’s Cool Gray City of Love\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10385723\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/coolcitycrop.jpg\" alt=\"coolcitycrop\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/coolcitycrop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/coolcitycrop-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp class=\"p1\">If you aren’t already enamored with our fair city, this book will make you fall in love with San Francisco in no time. Author Gary Kamiya takes you on a sight-seeing escapade bringing history, local lore, natural science, politics and street level conversation to life. You will never look at our neighborhoods, parks, and waterfronts in the same way. I’ve been forcing myself to read only a few chapters a night so I don’t devour it in one sitting. When was the last time that you explored a new part of San Francisco? This book is the perfect jolt for the jaded local who calls this city home.\u003c/p>\n\u003cp class=\"p1\">Also, Gary Kamiya is working with \u003ca href=\"https://www.detour.com/\">\u003cspan class=\"s1\">Detour\u003c/span>\u003c/a>, an app that offers audio walks in San Francisco that reveal hidden stories, people and places. \u003ca href=\"https://www.detour.com/detours/cool-gray-city\">\u003cspan class=\"s1\">Cool Gray City launched on Detour\u003c/span>\u003c/a> a few weeks back. 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"title": "Got You Covered: Valentine's Day Cards for the Bay Area",
"headTitle": "Got You Covered: Valentine’s Day Cards for the Bay Area | KQED",
"content": "\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Want to give your loved one something cute, quirky and Bay Area-themed for Valentine's Day? Take your pick from six new valentines we commissioned just for you.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year we decided to help out all of you Valentine’s Day slackers by designing and providing you with some fun, \u003ca href=\"http://ww2.kqed.org/news/2014/02/12/say-i-love-you-with-bay-area-themed-valentines/\" target=\"_blank\" rel=\"noopener\">Bay Area-themed valentine cards.\u003c/a>\u003c/p>\n\u003cp>This year we took it a step further by commissioning six local artists to provide us with the art for this year’s list of Bay Area puns and inside jokes. As you will see below, the artists did not disappoint! Share, copy or print to your heart’s content.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/toteslove.png\" alt=\"toteslove\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-400x400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-600x600.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/toteslove-75x75.png 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>First is “I Totes Love You” by Jeff Meadows, local artist and sign painter. His work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382963\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Coit-Looker-e1423702683137.jpg\" alt=\"Coit Looker\" width=\"800\" height=\"800\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next is “You’re Coit the Looker” by illustrator and graphic designer Brian Standeford, whose work can be seen regularly on \u003ca href=\"http://cargocollective.com/standeforddesign/Bold-Italic-Work\" target=\"_blank\" rel=\"noopener\">The Bold Italic\u003c/a>. But make sure to check out \u003ca href=\"http://cargocollective.com/standeforddesign\" target=\"_blank\" rel=\"noopener\">all of it\u003c/a>, especially his album covers and concert posters.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382991\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kqed-val.jpg\" alt=\"kqed-val\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kqed-val-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>We really lucked out in getting Sirron Norris to contribute “You’re My Bae.” If you haven’t seen his work and murals around the Mission, you \u003ca href=\"http://www.sirronnorris.com/latest\" target=\"_blank\" rel=\"noopener\">must seek it out\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382949\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg\" alt=\"Bill Zindel\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Bill-Zindel-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Artist, illustrator, and designer Bill Zindel illustrates “You Had Me at Hella,” which exemplifies his wonderful collage work. You can see more of it on \u003ca href=\"http://billzindel.com/259737/projects\" target=\"_blank\" rel=\"noopener\">his website.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10382978\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/hayward2-e1423704261382.jpg\" alt=\"hayward\" width=\"800\" height=\"533\">\u003c/a>\u003c/p>\n\u003cp>Next is “You Make My Knees Wobble Like the Hayward Fault,” by comic book and visual artist Thien Pham. Join his fan club at \u003ca href=\"http://thienisawesome.blogspot.com/\" target=\"_blank\" rel=\"noopener\">thienisawesome.blogspot.com\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10383016\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg\" alt=\"MashaKouznetsova_LikeALightJacket_003\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/MashaKouznetsova_LikeALightJacket_003-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, we have “Like a Light Jacket” by the multi-talented Masha Kouznetsova. You can check out her wide variety of illustrations, drawings and sculptures on her\u003ca href=\"http://instagram.com/mashakouznetsova\" target=\"_blank\" rel=\"noopener\"> Instagram page\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Upright Citizen's Podcast Demonstrates Improv at its Best",
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"content": "\u003cp>The sign of a good podcast is when it makes the audience want to join in the fun. \u003cem>\u003ca href=\"http://www.earwolf.com/show/improv4humans/\" target=\"_blank\" rel=\"noopener\">Improv4humans\u003c/a>\u003c/em>, the podcast created by Upright Citizens Brigade (UCB) co-founder Matt Besser, is all but guaranteed to make listeners try improv. Besser and his ever-changing cast of longform improvisers—many of whom trained at UCB’s theaters in New York and Los Angeles—do the same kinds of “games” they use on the stage, but without an live audience, so they take on a looser, more laid-back feel. They never sound like they’re performing for the microphones; it just sounds like they’re trying to make each other laugh, and I for one, always wish I could join in. \u003c/p>\n\u003cp>\u003cem>Improv4humans\u003c/em> is only the latest in a long list of Besser’s successful experiments, and the result of years of comedy research. Besser and UCB share the same place in the hearts of millennials occupied by ’90s sketch shows \u003ci>The State\u003c/i> and \u003ci>Mr. Show\u003c/i>. The group’s show on Comedy Central, \u003cem>Upright Citizens Brigade\u003c/em>, was instrumental in introducing the world to the talents of Amy Poehler (\u003cem>Parks and Recreation\u003c/em>), Matt Walsh (\u003ci>Veep\u003c/i>) and Ian Roberts (\u003ci>Key and Peele\u003c/i>). Like the rest of the group, Besser would go on to amass \u003ca href=\"http://www.imdb.com/name/nm0078800/\" target=\"_blank\" rel=\"noopener\">a list of credits miles long\u003c/a>, from TV shows he helped create to roles in films like \u003ci>\u003ca href=\"http://www.imdb.com/title/tt0841046/?ref_=nm_flmg_act_44\" target=\"_blank\" rel=\"noopener\">Walk Hard: The Dewey Cox Story.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Being a fan of all of Besser’s work, when given the opportunity to interview him in advance of the \u003ci>improv4humans\u003c/i> show at \u003ca href=\"http://sfsketchfest2015.sched.org/event/2e3a3c36c3fc91cf802fdea96d35e63d#.VNVW_fnF98E\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>, I not only wanted to talk about his career but what it’s like to work in comedy and improv at large. He did not disappoint. \u003c/p>\n\u003cfigure id=\"attachment_10368011\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade.jpg\" alt=\"The Upright Citizens Brigade\" width=\"640\" height=\"662\" class=\"size-full wp-image-10368011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Upright Citizens Brigade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve said that you started your comedy career on a college radio show. Was that at Amherst?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It was supposedly a punk rock show, but every show I talked more and more. And as soon as I started to get positive feedback, I was hooked. “People actually think I’m funny? I definitely want to do this then.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then I started doing standup during the middle of a big standup boom, so it was a good time for me. \u003c/p>\n\u003cp>\u003cstrong>What did you do on the radio show?\u003c/strong>\u003c/p>\n\u003cp>Mostly just screwing around. I did do a lot of prank calls—really stupid prank calls. We’d call liquor stores and just do the stupidest prank calls. One thing we did was an ongoing challenge of calling people and seeing how many times you could work the word “anchovy” into the conversation, with it still making sense. \u003c/p>\n\u003cp>\u003cstrong>Was that what started you off on pranking people for comedy?\u003c/strong>\u003c/p>\n\u003cp>You could say that. I grew up loving when DJs made prank calls and that was something I was always into. I did them as a kid, just like every other kid. \u003c/p>\n\u003cp>\u003cstrong>But you weren’t just calling them up and asking if they had Prince Albert in a can.\u003c/strong>\u003c/p>\n\u003cp>I did stuff that, looking back at it, was really \u003cem>bad\u003c/em>. I’m not gonna even say. But we would really cause trouble. We wouldn’t do what they do today, like SWATing people—sending a SWAT team to people’s homes. But we’d order stuff to their houses that they did not want to come to their house… I’ll say that much.\u003c/p>\n\u003cp>\u003cstrong>A lot of your comedy career has involved pranks. You did big pranks with UCB, like \u003ca href=\"http://rulefortytwo.com/articles-essays/movies/upright-citizens-brigade/\" target=\"_blank\" rel=\"noopener\">the Pepsi incident\u003c/a>. Later, you had your MTV show with \u003ca href=\"http://www.imdb.com/title/tt0305116/?ref_=nm_flmg_slf_44\" target=\"_blank\" rel=\"noopener\">Redman & Method Man\u003c/a> and the amazing show \u003cem>Crossballs\u003c/em>. But it seems like in recent years, your prank comedy has tapered off.\u003c/strong>\u003c/p>\n\u003cp>[Laughs] Definitely! It takes a lot of intestinal fortitude to prank people and \u003cem>Crossballs\u003c/em> was really intense—even more than any of the other stuff I’ve done. It was a show where we debated people who did not know we were being characters, and I always wanted to prank people I thought deserved to be pranked versus just random people like most other shows. I would say about 75 percent of the people we pranked I viewed as “not good people.” Pro-gun rights people, anti-gay marriage advocates…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TcPjirm9c5U\u003c/p>\n\u003cp>After we would prank them, they would not be delighted and think it was humorous, like on \u003ci>Punk’d;\u003c/i> they’d be mad and want to sue us. And after you have 24 shows with two to four people on each episode… With that many people in the world really angry at you because you pranked them, it’s tough to keep doing it, even if you don’t like them. [Laughs] \u003c/p>\n\u003cp>\u003cb>So the legal action takes all the fun out of the show?\u003c/b>\u003c/p>\n\u003cp>Yeah, it literally stopped the show. Just about every fourth guest threatened to sue us, six of them got lawyers and pursued it in some way, and one guy pursued it seriously and his episode never got on. That made Comedy Central go, “Okay, enough of this. The show isn’t worth all the trouble it’s causing.” \u003c/p>\n\u003cp>\u003cb>Would you do it today if you could?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I would, especially now that I have a child, or if I would do it the same way. As I said, I was going up against a lot of people I think of as being almost evil, and I actually don’t like prank shows that just prank normal people. It’s like, why are you messing with those people? They don’t deserve to be messed with. \u003c/p>\n\u003cp>I like what we did but it was like going to war, in a way, and I just don’t feel like going to war. I had people threatening me online, and when you have a kid, you don’t want to bring them into that. I don’t want to do something that would be less than that either, because that was part of what made it cool. We were debating real issues and topics, but doing it in an absurd way. \u003c/p>\n\u003cp>*******\u003c/p>\n\u003cfigure id=\"attachment_10368012\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Besser-Poehler.jpg\" alt=\"Amy Poehler and Matt Besser back in the day\" width=\"640\" height=\"417\" class=\"size-full wp-image-10368012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-Poehler.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-Poehler-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy Poehler and Matt Besser back in the day\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Was the \u003ci>ASSSSCAT\u003c/i> podcast your entrance into the world of podcasting?\u003c/b>\u003c/p>\n\u003cp>Not really, because \u003ci>ASSSSCAT\u003c/i> was almost a second thought because we didn’t record it well, audio-wise—we didn’t have a great way to obtain a quality recording of those shows. We did it in a lazy manner, and once the podcasting fad got to the point where the listeners were demanding higher quality, we just gave up on it. We couldn’t do anything about the audio quality without completely redoing the way we did the show. We didn’t want to have to strap a lavalier mic on everybody. \u003c/p>\n\u003cp>I didn’t even think about doing a podcast until \u003ca href=\"http://www.earwolf.com/person/scott-aukerman/\" target=\"_blank\" rel=\"noopener\">Scott (Aukerman)\u003c/a> asked me. I realized that if I was going to do one, I wanted it to be like \u003ci>ASSSSCAT.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When you started doing \u003ci>improv4humans,\u003c/i> were you worried at all that it wouldn’t work, especially since you’re doing improv without an audience?\u003c/b>\u003c/p>\n\u003cp>Well there’s two major things. First, doing improv without an audience is weird, but I guess doing any kind of comedy without an audience is something you have to get used to. It took me and my guests a little while to realize that we don’t need an audience. We can tell when things are going well. \u003c/p>\n\u003cp>And then there was the need to make up for the fact that there wasn’t a visual. So there’s more narrative description of what’s going on and getting used to that, as well as getting used to editing scenes and making clear to the audience that that is what’s happening. I think that was both a learning curve for the show and my guests. I would say the first six months were not as strong as it has been since then. \u003c/p>\n\u003cp>I also learned—though I already knew this lesson, but I try to stick to it more—the more you can have people that work together on the show, the better the show is going to be. It’s difficult to book that all the time, but I aim for that as much as possible. \u003c/p>\n\u003cfigure id=\"attachment_10368013\" class=\"wp-caption alignright\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ASSSSCAT.jpg\" alt=\"ASSSCAT on stage \" width=\"636\" height=\"358\" class=\"size-full wp-image-10368013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ASSSSCAT.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ASSSSCAT-400x225.jpg 400w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">ASSSCAT on stage\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That leads me to my next question. I was an early fan of the show and I went onto the Earwolf online forums to start a discussion about possible guests for \u003ci>improv4humans.\u003c/i> Later as the show went along, you announced on the podcast that just because people we making suggestions on that list doesn’t mean you were going to have them on.\u003c/b>\u003c/p>\n\u003cp>Well there’s different kinds of suggestions. Some people just think that someone is funny and therefore, they can improvise. That’s just not true, and it’s usually just people recommending great standups who are really funny people but, to assume they can be one of the four improvisors, I don’t know; it just doesn’t work. And I know this sounds snobby, but I do prefer to work with improvisors who do the kind of UCB-style improv, which means finding the game of the scene. Not all improvisors do that, so even if they are good improvisors in their own style, that style could be the opposite of our style, so it doesn’t necessarily work. \u003c/p>\n\u003cp>And even improvisors who do the same style but are in different groups and have kind of different tones don’t work well together. That’s the lesson I learned: that even if I like playing with them both, they may not both be good together and I have to look more at that when I’m booking the shows. \u003c/p>\n\u003cp>\u003cb>So you’re thinking about the whole team dynamic when you’re putting a show together?\u003c/b>\u003c/p>\n\u003cp>Yeah, without question. Some of the best shows have been with people have been together forever because you can’t teach that, you can’t buy that, it only happens by them being together forever. It only happens over time. And it’s such a great thing to take advantage of in comedy; it’s why Jessica St. Clair and Lennon Parnham are so great together and that’s why \u003ca href=\"http://www.usanetwork.com/playinghouse\" target=\"_blank\" rel=\"noopener\">their sitcom\u003c/a> is so great. They can be great on any sitcom separately, but together they’re so much better on their own sitcom. They’re all funny individually but when they’re with their certain people, it just jives better.\u003c/p>\n\u003cp>*****\u003c/p>\n\u003cfigure id=\"attachment_10368014\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope.jpg\" alt='Matt Besser as \"The Pope\" onstage with James Adomian' width=\"640\" height=\"480\" class=\"size-full wp-image-10368014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Matt Besser as “The Pope” onstage with James Adomian\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is it true you taught Kanye West improv? And are those one-on-one sessions common for you?\u003c/b>\u003c/p>\n\u003cp>I have tutored off and on through the years, and he’s definitely the biggest star. I have not ever talked about it too much—it’s almost like a client confidentiality thing. But\u003cbr>\nWest had a show that was going to be kind of like \u003ci>Curb Your Enthusiasm\u003c/i> that he was going to do on HBO. He had made a pilot for it and he got me to tutor him on how to do improv.\u003c/p>\n\u003cp>\u003cb>Did you have a day rate?\u003c/b>\u003c/p>\n\u003cp>No, I was willing to do it for free. I don’t know how that came about, but I only do it if I think it’s interesting or it’s going to be an interesting experience, and it definitely was.\u003c/p>\n\u003cp>\u003cb>Are you all about spreading the word of improv?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’d say it that way. I mean, as I said, it was going to be an interesting experience. I’m not going to pretend that I’m out there to spread improv across the world out of the kindness in my heart. I think people who are good at improv should do improv and I want them to. And I also think that everyone could benefit from a level-one improv class. But once you go past that, I think you need to be serious about it. Not necessarily want to be a professional comedian, but want to be a good improvisor and not just doing it to get out of your shell. \u003c/p>\n\u003cp>\u003cb>So you’re not the Johnny Appleseed of improv, but you don’t look down on people who just want to try it out.\u003c/b>\u003c/p>\n\u003cp>Not at all, and in fact, I think it would do a lot of people a good service. There’s certain basic tendencies that humans share that you see in improv classes, in 101 in particular. The two words that provide the basis of improv have always been “Yes and,” and it’s crazy how people’s natural instinct is just to say, “No but.” It’s crazy, and it’s one of the first things you pound out of people. \u003c/p>\n\u003cp>As a result, it makes you an easier person to be with, whether it’s in your personal life, your business or wherever. And there are certain listening skills that you think are just obvious or should be self-evident, but they’re not. People do the opposite of it and they’re easy exercises to help people not do that. They don’t necessarily have to train you to be a part of an improv ensemble; they just teach you how to be around other people. [Laughs]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>All photos of Besser are courtesy of \u003ca href=\"http://www.mattbesser.com/\" target=\"_blank\" rel=\"noopener\">Mattbesser.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "One of the biggest names in improv comedy speaks about his career, his podcast \u003ci>improv4humans\u003c/i> and what one can gain from an introductory improv class.",
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"title": "An Upright Citizen's Podcast Demonstrates Improv at its Best | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sign of a good podcast is when it makes the audience want to join in the fun. \u003cem>\u003ca href=\"http://www.earwolf.com/show/improv4humans/\" target=\"_blank\" rel=\"noopener\">Improv4humans\u003c/a>\u003c/em>, the podcast created by Upright Citizens Brigade (UCB) co-founder Matt Besser, is all but guaranteed to make listeners try improv. Besser and his ever-changing cast of longform improvisers—many of whom trained at UCB’s theaters in New York and Los Angeles—do the same kinds of “games” they use on the stage, but without an live audience, so they take on a looser, more laid-back feel. They never sound like they’re performing for the microphones; it just sounds like they’re trying to make each other laugh, and I for one, always wish I could join in. \u003c/p>\n\u003cp>\u003cem>Improv4humans\u003c/em> is only the latest in a long list of Besser’s successful experiments, and the result of years of comedy research. Besser and UCB share the same place in the hearts of millennials occupied by ’90s sketch shows \u003ci>The State\u003c/i> and \u003ci>Mr. Show\u003c/i>. The group’s show on Comedy Central, \u003cem>Upright Citizens Brigade\u003c/em>, was instrumental in introducing the world to the talents of Amy Poehler (\u003cem>Parks and Recreation\u003c/em>), Matt Walsh (\u003ci>Veep\u003c/i>) and Ian Roberts (\u003ci>Key and Peele\u003c/i>). Like the rest of the group, Besser would go on to amass \u003ca href=\"http://www.imdb.com/name/nm0078800/\" target=\"_blank\" rel=\"noopener\">a list of credits miles long\u003c/a>, from TV shows he helped create to roles in films like \u003ci>\u003ca href=\"http://www.imdb.com/title/tt0841046/?ref_=nm_flmg_act_44\" target=\"_blank\" rel=\"noopener\">Walk Hard: The Dewey Cox Story.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Being a fan of all of Besser’s work, when given the opportunity to interview him in advance of the \u003ci>improv4humans\u003c/i> show at \u003ca href=\"http://sfsketchfest2015.sched.org/event/2e3a3c36c3fc91cf802fdea96d35e63d#.VNVW_fnF98E\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>, I not only wanted to talk about his career but what it’s like to work in comedy and improv at large. He did not disappoint. \u003c/p>\n\u003cfigure id=\"attachment_10368011\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade.jpg\" alt=\"The Upright Citizens Brigade\" width=\"640\" height=\"662\" class=\"size-full wp-image-10368011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Upright-Citizens-Brigade-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Upright Citizens Brigade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve said that you started your comedy career on a college radio show. Was that at Amherst?\u003c/strong>\u003c/p>\n\u003cp>Yeah. It was supposedly a punk rock show, but every show I talked more and more. And as soon as I started to get positive feedback, I was hooked. “People actually think I’m funny? I definitely want to do this then.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then I started doing standup during the middle of a big standup boom, so it was a good time for me. \u003c/p>\n\u003cp>\u003cstrong>What did you do on the radio show?\u003c/strong>\u003c/p>\n\u003cp>Mostly just screwing around. I did do a lot of prank calls—really stupid prank calls. We’d call liquor stores and just do the stupidest prank calls. One thing we did was an ongoing challenge of calling people and seeing how many times you could work the word “anchovy” into the conversation, with it still making sense. \u003c/p>\n\u003cp>\u003cstrong>Was that what started you off on pranking people for comedy?\u003c/strong>\u003c/p>\n\u003cp>You could say that. I grew up loving when DJs made prank calls and that was something I was always into. I did them as a kid, just like every other kid. \u003c/p>\n\u003cp>\u003cstrong>But you weren’t just calling them up and asking if they had Prince Albert in a can.\u003c/strong>\u003c/p>\n\u003cp>I did stuff that, looking back at it, was really \u003cem>bad\u003c/em>. I’m not gonna even say. But we would really cause trouble. We wouldn’t do what they do today, like SWATing people—sending a SWAT team to people’s homes. But we’d order stuff to their houses that they did not want to come to their house… I’ll say that much.\u003c/p>\n\u003cp>\u003cstrong>A lot of your comedy career has involved pranks. You did big pranks with UCB, like \u003ca href=\"http://rulefortytwo.com/articles-essays/movies/upright-citizens-brigade/\" target=\"_blank\" rel=\"noopener\">the Pepsi incident\u003c/a>. Later, you had your MTV show with \u003ca href=\"http://www.imdb.com/title/tt0305116/?ref_=nm_flmg_slf_44\" target=\"_blank\" rel=\"noopener\">Redman & Method Man\u003c/a> and the amazing show \u003cem>Crossballs\u003c/em>. But it seems like in recent years, your prank comedy has tapered off.\u003c/strong>\u003c/p>\n\u003cp>[Laughs] Definitely! It takes a lot of intestinal fortitude to prank people and \u003cem>Crossballs\u003c/em> was really intense—even more than any of the other stuff I’ve done. It was a show where we debated people who did not know we were being characters, and I always wanted to prank people I thought deserved to be pranked versus just random people like most other shows. I would say about 75 percent of the people we pranked I viewed as “not good people.” Pro-gun rights people, anti-gay marriage advocates…\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/TcPjirm9c5U'\n title='//www.youtube.com/embed/TcPjirm9c5U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After we would prank them, they would not be delighted and think it was humorous, like on \u003ci>Punk’d;\u003c/i> they’d be mad and want to sue us. And after you have 24 shows with two to four people on each episode… With that many people in the world really angry at you because you pranked them, it’s tough to keep doing it, even if you don’t like them. [Laughs] \u003c/p>\n\u003cp>\u003cb>So the legal action takes all the fun out of the show?\u003c/b>\u003c/p>\n\u003cp>Yeah, it literally stopped the show. Just about every fourth guest threatened to sue us, six of them got lawyers and pursued it in some way, and one guy pursued it seriously and his episode never got on. That made Comedy Central go, “Okay, enough of this. The show isn’t worth all the trouble it’s causing.” \u003c/p>\n\u003cp>\u003cb>Would you do it today if you could?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I would, especially now that I have a child, or if I would do it the same way. As I said, I was going up against a lot of people I think of as being almost evil, and I actually don’t like prank shows that just prank normal people. It’s like, why are you messing with those people? They don’t deserve to be messed with. \u003c/p>\n\u003cp>I like what we did but it was like going to war, in a way, and I just don’t feel like going to war. I had people threatening me online, and when you have a kid, you don’t want to bring them into that. I don’t want to do something that would be less than that either, because that was part of what made it cool. We were debating real issues and topics, but doing it in an absurd way. \u003c/p>\n\u003cp>*******\u003c/p>\n\u003cfigure id=\"attachment_10368012\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Besser-Poehler.jpg\" alt=\"Amy Poehler and Matt Besser back in the day\" width=\"640\" height=\"417\" class=\"size-full wp-image-10368012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-Poehler.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-Poehler-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amy Poehler and Matt Besser back in the day\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Was the \u003ci>ASSSSCAT\u003c/i> podcast your entrance into the world of podcasting?\u003c/b>\u003c/p>\n\u003cp>Not really, because \u003ci>ASSSSCAT\u003c/i> was almost a second thought because we didn’t record it well, audio-wise—we didn’t have a great way to obtain a quality recording of those shows. We did it in a lazy manner, and once the podcasting fad got to the point where the listeners were demanding higher quality, we just gave up on it. We couldn’t do anything about the audio quality without completely redoing the way we did the show. We didn’t want to have to strap a lavalier mic on everybody. \u003c/p>\n\u003cp>I didn’t even think about doing a podcast until \u003ca href=\"http://www.earwolf.com/person/scott-aukerman/\" target=\"_blank\" rel=\"noopener\">Scott (Aukerman)\u003c/a> asked me. I realized that if I was going to do one, I wanted it to be like \u003ci>ASSSSCAT.\u003c/i>\u003c/p>\n\u003cp>\u003cb>When you started doing \u003ci>improv4humans,\u003c/i> were you worried at all that it wouldn’t work, especially since you’re doing improv without an audience?\u003c/b>\u003c/p>\n\u003cp>Well there’s two major things. First, doing improv without an audience is weird, but I guess doing any kind of comedy without an audience is something you have to get used to. It took me and my guests a little while to realize that we don’t need an audience. We can tell when things are going well. \u003c/p>\n\u003cp>And then there was the need to make up for the fact that there wasn’t a visual. So there’s more narrative description of what’s going on and getting used to that, as well as getting used to editing scenes and making clear to the audience that that is what’s happening. I think that was both a learning curve for the show and my guests. I would say the first six months were not as strong as it has been since then. \u003c/p>\n\u003cp>I also learned—though I already knew this lesson, but I try to stick to it more—the more you can have people that work together on the show, the better the show is going to be. It’s difficult to book that all the time, but I aim for that as much as possible. \u003c/p>\n\u003cfigure id=\"attachment_10368013\" class=\"wp-caption alignright\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ASSSSCAT.jpg\" alt=\"ASSSCAT on stage \" width=\"636\" height=\"358\" class=\"size-full wp-image-10368013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ASSSSCAT.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ASSSSCAT-400x225.jpg 400w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">ASSSCAT on stage\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That leads me to my next question. I was an early fan of the show and I went onto the Earwolf online forums to start a discussion about possible guests for \u003ci>improv4humans.\u003c/i> Later as the show went along, you announced on the podcast that just because people we making suggestions on that list doesn’t mean you were going to have them on.\u003c/b>\u003c/p>\n\u003cp>Well there’s different kinds of suggestions. Some people just think that someone is funny and therefore, they can improvise. That’s just not true, and it’s usually just people recommending great standups who are really funny people but, to assume they can be one of the four improvisors, I don’t know; it just doesn’t work. And I know this sounds snobby, but I do prefer to work with improvisors who do the kind of UCB-style improv, which means finding the game of the scene. Not all improvisors do that, so even if they are good improvisors in their own style, that style could be the opposite of our style, so it doesn’t necessarily work. \u003c/p>\n\u003cp>And even improvisors who do the same style but are in different groups and have kind of different tones don’t work well together. That’s the lesson I learned: that even if I like playing with them both, they may not both be good together and I have to look more at that when I’m booking the shows. \u003c/p>\n\u003cp>\u003cb>So you’re thinking about the whole team dynamic when you’re putting a show together?\u003c/b>\u003c/p>\n\u003cp>Yeah, without question. Some of the best shows have been with people have been together forever because you can’t teach that, you can’t buy that, it only happens by them being together forever. It only happens over time. And it’s such a great thing to take advantage of in comedy; it’s why Jessica St. Clair and Lennon Parnham are so great together and that’s why \u003ca href=\"http://www.usanetwork.com/playinghouse\" target=\"_blank\" rel=\"noopener\">their sitcom\u003c/a> is so great. They can be great on any sitcom separately, but together they’re so much better on their own sitcom. They’re all funny individually but when they’re with their certain people, it just jives better.\u003c/p>\n\u003cp>*****\u003c/p>\n\u003cfigure id=\"attachment_10368014\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope.jpg\" alt='Matt Besser as \"The Pope\" onstage with James Adomian' width=\"640\" height=\"480\" class=\"size-full wp-image-10368014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Besser-as-the-Pope-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Matt Besser as “The Pope” onstage with James Adomian\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Is it true you taught Kanye West improv? And are those one-on-one sessions common for you?\u003c/b>\u003c/p>\n\u003cp>I have tutored off and on through the years, and he’s definitely the biggest star. I have not ever talked about it too much—it’s almost like a client confidentiality thing. But\u003cbr>\nWest had a show that was going to be kind of like \u003ci>Curb Your Enthusiasm\u003c/i> that he was going to do on HBO. He had made a pilot for it and he got me to tutor him on how to do improv.\u003c/p>\n\u003cp>\u003cb>Did you have a day rate?\u003c/b>\u003c/p>\n\u003cp>No, I was willing to do it for free. I don’t know how that came about, but I only do it if I think it’s interesting or it’s going to be an interesting experience, and it definitely was.\u003c/p>\n\u003cp>\u003cb>Are you all about spreading the word of improv?\u003c/b>\u003c/p>\n\u003cp>I don’t know if I’d say it that way. I mean, as I said, it was going to be an interesting experience. I’m not going to pretend that I’m out there to spread improv across the world out of the kindness in my heart. I think people who are good at improv should do improv and I want them to. And I also think that everyone could benefit from a level-one improv class. But once you go past that, I think you need to be serious about it. Not necessarily want to be a professional comedian, but want to be a good improvisor and not just doing it to get out of your shell. \u003c/p>\n\u003cp>\u003cb>So you’re not the Johnny Appleseed of improv, but you don’t look down on people who just want to try it out.\u003c/b>\u003c/p>\n\u003cp>Not at all, and in fact, I think it would do a lot of people a good service. There’s certain basic tendencies that humans share that you see in improv classes, in 101 in particular. The two words that provide the basis of improv have always been “Yes and,” and it’s crazy how people’s natural instinct is just to say, “No but.” It’s crazy, and it’s one of the first things you pound out of people. \u003c/p>\n\u003cp>As a result, it makes you an easier person to be with, whether it’s in your personal life, your business or wherever. And there are certain listening skills that you think are just obvious or should be self-evident, but they’re not. People do the opposite of it and they’re easy exercises to help people not do that. They don’t necessarily have to train you to be a part of an improv ensemble; they just teach you how to be around other people. [Laughs]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>All photos of Besser are courtesy of \u003ca href=\"http://www.mattbesser.com/\" target=\"_blank\" rel=\"noopener\">Mattbesser.com\u003c/a>.\u003c/i>\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 skateboarding Iranian vampire, neon art of Tupac, this one part in the \u003cem>Friends\u003c/em> theme song, and more!\u003c/p>\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>Emmanuel Hapsis\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\">A Girl Walks Home Alone at Night\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=_YGmTdo3vuY\u003c/p>\n\u003cp>Every now and then, a movie comes along that sticks in your head long after you’ve left the theater, like a pesky high-school crush. You can’t stop thinking about it. Your friends get sick of hearing about it. \u003cem>A Girl Walks Home Alone at Night\u003c/em> is like that for me.\u003c/p>\n\u003cp>Director Ana Lily Amirpour transforms Taft, Calif. into an Iranian ghost town called Bad City, where a feminist vampire lurks around town punishing misbehaving men. When she’s not sinking her teeth into necks, she spends her time skateboarding, her chador floating behind her, or dancing in her room to Iranian New Wave (be prepared to fall in love with the soundtrack and have a mini-meltdown when you realize it’s not available to buy yet). In a culture inundated with sequels and prequels and remakes, it’s refreshing to come across such an original, stylish, weird, progressive film. Go see it tonight \u003ca href=\"http://www.roxie.com/ai1ec_event/girl-walks-home-alone-night/?instance_id=\" target=\"_blank\" rel=\"noopener\">at the Roxie\u003c/a> in SF or \u003ca href=\"http://thenewparkway.com/wp/?page_id=14\" target=\"_blank\" rel=\"noopener\">the New Parkway\u003c/a> in Oakland!\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\">That One Part in the \u003cem>Friends\u003c/em> Theme Song\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Xs-HbHCcK58\u003c/p>\n\u003cp>There’s some serious binge-watching of \u003cem>Friends\u003c/em> going on in my house right now, and my current obsession is the theme song by the Rembrandts. Specifically, the awkward high harmony on the “A” of the line “Your job’s a joke, you’re broke / Your love life’s D.O.A.” You know how some songs have one little part that you anticipate every time you hear it? As soon as I see Jennifer Aniston romping in that fountain, my brain goes, “Oooh, it’s coming, it’s coming.” I love it and hate it at the same time, like any effective jingle. Interestingly, the Rembrandts didn’t even write the \u003cem>Friends\u003c/em> theme song, but were made famous by it, and \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/the-rembrandts-so-no-one-told-me-it-was-going-to-be-this-way-6170741.html\" target=\"_blank\" rel=\"noopener\">this interview\u003c/a> outlines their mixed feelings about it. Every time the song comes on, I can’t imagine what life must be like now for the guy who sang that harmony.\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>Kristin Farr\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\">Michelle Guintu’s Nostalgia Art\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10362349\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500.jpeg\" alt=\"tumblr_n8wz3iLC2x1r2ftu7o1_500\" width=\"500\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500-400x292.jpeg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp class=\"p1\">One look at SF-based artist \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">Michelle Guintu’s paintings\u003c/span>\u003c/a> and I said to myself, “Where has she been all my life?” Combining two of my favorite things, neon colors and ’90s celebrities, her paintings are like a hug from your old bestie from middle school, the one who wore the other half of your heart-shaped BFF necklace. And who doesn’t love artwork that makes you feel like a kid again?\u003c/p>\n\u003cp class=\"p1\">From the \u003ci>Wonder Years\u003c/i> rosy-cheeked cast, to Tupac and Biggie relaxing on a picnic blanket, to angsty Angela from \u003ci>My So-Called Life\u003c/i>, no one is safe from Guintu’s paint brush. People of a certain generation will be drawn in by her subjects, and others will appreciate the use of color and her deceptively simple portraiture techniques. You can currently see her work at a brand-new gallery, \u003ca href=\"http://goodmothergallery.com/\" target=\"_blank\" rel=\"noopener\">Good Mother\u003c/a>, in Oakland, and find affordable prints from the artist at \u003ca href=\"http://michelleguintu.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">BigCartel\u003c/span>\u003c/a> and \u003ca href=\"http://society6.com/product/wonder-years-mwz_print#1=45\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">Society6\u003c/span>\u003c/a>. Michelle just had a solo show at New Image Art in L.A., a sure sign that her star is on the rise.\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\">Stalking Book Requests at The British Library\u003c/h2>\n\u003cdiv id=\"watch7-user-header\" class=\" spf-link \">\u003c/div>\n\u003cp>http://youtu.be/3b5J9-lW8kg\u003c/p>\n\u003cp class=\"p1\">\u003cspan style=\"line-height: 1.5\">Thrill-seeker that I am, I’m currently obsessed with this video showing “10 hypnotic minutes of real-time book requests from the British Library’s book delivery system.” Yes, this really *is* just 10 minutes of scrolling book titles, and it’s mesmerizing. Marvel as you bounce from Hebrew poetry and a 1963 \u003cem>New York Review of Books\u003c/em> to \u003cem>The Life and Lore of the Bird\u003c/em>. Like whenever my dad insists on showing me his (admittedly fascinating) historical coin collection, I love wondering about the hands that these objects are being passed back and forth between; all the novels being researched, the PhDs and night classes being labored over. And in case that all sounds a bit insufferable, you’ve also got bizarro titles like \u003cem>London is a Man’s Town, But Women Go There\u003c/em> (1930) to chuckle at.\u003c/span>\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>Kevin Jones\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\">The Dollop\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=mlw3vIa66tI\u003c/p>\n\u003cp class=\"p1\">I love podcasts, especially ones that capture a group of friends having fun with each other—it’s sad to admit this, but sometimes they feel like the only social interaction I get outside of work (oh boy, that \u003cem>is\u003c/em> REALLY sad). My most recent discovery, \u003ca href=\"https://www.facebook.com/thedollop?fref=nf\" target=\"_blank\" rel=\"noopener\">The Dollop\u003c/a> with Dave Anthony and Gareth Reynolds, has had me wearing headphones at all times of the day. Each episode consists of Anthony, a standup comedian and writer/actor for IFC’s \u003cem>Maron\u003c/em>, reading an article about a messed up time in history to Reynolds, an up-and-coming standup and actor. Each story has been hand-picked to be ripped apart by the two, and they have a blast doing it. I highly suggest starting with the episode about \u003ca href=\"http://thedollop.libsyn.com/51-smollop-michael-malloy\" target=\"_blank\" rel=\"noopener\">Iron Michael Molloy\u003c/a> or \u003ca href=\"http://thedollop.libsyn.com/54-cassius-clay\" target=\"_blank\" rel=\"noopener\">the one on Cassius Clay\u003c/a>.\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\">8tracks\u003c/h2>\n\u003cp>http://youtu.be/kuX2JYUKQeY?list=PLONMdg0KOyuOcQD_oV_t-uZYFd4CuICDL\u003c/p>\n\u003cp>I’ve recently been spending a lot of time on the \u003ca href=\"http://8tracks.com/\" target=\"_blank\" rel=\"noopener\">8tracks\u003c/a> app. Their main shtick is “internet radio created by people, not algorithms.” Music lovers create mixtapes of their own, to share with friends. It’s been a sweet way for me to discover new artists, and some of the mixes are 3-5 hours long and equally as good at the start as the end. I’ve been playing through their IDM, glitch-hop, minimal techno and ambient mixes and have been surprised by their selection. I’ll still use SoundCloud and Spotify, but 8tracks is my jam right now.\u003c/p>\n\u003c/div>\n\u003c/div>\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 skateboarding Iranian vampire, neon art of Tupac, this one part in the Friends theme song, 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 skateboarding Iranian vampire, neon art of Tupac, this one part in the \u003cem>Friends\u003c/em> theme song, and more!\u003c/p>\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>Emmanuel Hapsis\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\">A Girl Walks Home Alone at Night\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/_YGmTdo3vuY'\n title='//www.youtube.com/embed/_YGmTdo3vuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every now and then, a movie comes along that sticks in your head long after you’ve left the theater, like a pesky high-school crush. You can’t stop thinking about it. Your friends get sick of hearing about it. \u003cem>A Girl Walks Home Alone at Night\u003c/em> is like that for me.\u003c/p>\n\u003cp>Director Ana Lily Amirpour transforms Taft, Calif. into an Iranian ghost town called Bad City, where a feminist vampire lurks around town punishing misbehaving men. When she’s not sinking her teeth into necks, she spends her time skateboarding, her chador floating behind her, or dancing in her room to Iranian New Wave (be prepared to fall in love with the soundtrack and have a mini-meltdown when you realize it’s not available to buy yet). In a culture inundated with sequels and prequels and remakes, it’s refreshing to come across such an original, stylish, weird, progressive film. Go see it tonight \u003ca href=\"http://www.roxie.com/ai1ec_event/girl-walks-home-alone-night/?instance_id=\" target=\"_blank\" rel=\"noopener\">at the Roxie\u003c/a> in SF or \u003ca href=\"http://thenewparkway.com/wp/?page_id=14\" target=\"_blank\" rel=\"noopener\">the New Parkway\u003c/a> in Oakland!\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\">That One Part in the \u003cem>Friends\u003c/em> Theme Song\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/Xs-HbHCcK58'\n title='//www.youtube.com/embed/Xs-HbHCcK58'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s some serious binge-watching of \u003cem>Friends\u003c/em> going on in my house right now, and my current obsession is the theme song by the Rembrandts. Specifically, the awkward high harmony on the “A” of the line “Your job’s a joke, you’re broke / Your love life’s D.O.A.” You know how some songs have one little part that you anticipate every time you hear it? As soon as I see Jennifer Aniston romping in that fountain, my brain goes, “Oooh, it’s coming, it’s coming.” I love it and hate it at the same time, like any effective jingle. Interestingly, the Rembrandts didn’t even write the \u003cem>Friends\u003c/em> theme song, but were made famous by it, and \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/the-rembrandts-so-no-one-told-me-it-was-going-to-be-this-way-6170741.html\" target=\"_blank\" rel=\"noopener\">this interview\u003c/a> outlines their mixed feelings about it. Every time the song comes on, I can’t imagine what life must be like now for the guy who sang that harmony.\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>Kristin Farr\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\">Michelle Guintu’s Nostalgia Art\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10362349\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500.jpeg\" alt=\"tumblr_n8wz3iLC2x1r2ftu7o1_500\" width=\"500\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/tumblr_n8wz3iLC2x1r2ftu7o1_500-400x292.jpeg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/p>\n\u003cp class=\"p1\">One look at SF-based artist \u003ca href=\"http://michelleguintu.tumblr.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">Michelle Guintu’s paintings\u003c/span>\u003c/a> and I said to myself, “Where has she been all my life?” Combining two of my favorite things, neon colors and ’90s celebrities, her paintings are like a hug from your old bestie from middle school, the one who wore the other half of your heart-shaped BFF necklace. And who doesn’t love artwork that makes you feel like a kid again?\u003c/p>\n\u003cp class=\"p1\">From the \u003ci>Wonder Years\u003c/i> rosy-cheeked cast, to Tupac and Biggie relaxing on a picnic blanket, to angsty Angela from \u003ci>My So-Called Life\u003c/i>, no one is safe from Guintu’s paint brush. People of a certain generation will be drawn in by her subjects, and others will appreciate the use of color and her deceptively simple portraiture techniques. You can currently see her work at a brand-new gallery, \u003ca href=\"http://goodmothergallery.com/\" target=\"_blank\" rel=\"noopener\">Good Mother\u003c/a>, in Oakland, and find affordable prints from the artist at \u003ca href=\"http://michelleguintu.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">BigCartel\u003c/span>\u003c/a> and \u003ca href=\"http://society6.com/product/wonder-years-mwz_print#1=45\" target=\"_blank\" rel=\"noopener\">\u003cspan class=\"s1\">Society6\u003c/span>\u003c/a>. Michelle just had a solo show at New Image Art in L.A., a sure sign that her star is on the rise.\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\">Stalking Book Requests at The British Library\u003c/h2>\n\u003cdiv id=\"watch7-user-header\" class=\" spf-link \">\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/3b5J9-lW8kg'\n title='//www.youtube.com/embed/3b5J9-lW8kg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan style=\"line-height: 1.5\">Thrill-seeker that I am, I’m currently obsessed with this video showing “10 hypnotic minutes of real-time book requests from the British Library’s book delivery system.” Yes, this really *is* just 10 minutes of scrolling book titles, and it’s mesmerizing. Marvel as you bounce from Hebrew poetry and a 1963 \u003cem>New York Review of Books\u003c/em> to \u003cem>The Life and Lore of the Bird\u003c/em>. Like whenever my dad insists on showing me his (admittedly fascinating) historical coin collection, I love wondering about the hands that these objects are being passed back and forth between; all the novels being researched, the PhDs and night classes being labored over. And in case that all sounds a bit insufferable, you’ve also got bizarro titles like \u003cem>London is a Man’s Town, But Women Go There\u003c/em> (1930) to chuckle at.\u003c/span>\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>Kevin Jones\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\">The Dollop\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/mlw3vIa66tI'\n title='//www.youtube.com/embed/mlw3vIa66tI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I love podcasts, especially ones that capture a group of friends having fun with each other—it’s sad to admit this, but sometimes they feel like the only social interaction I get outside of work (oh boy, that \u003cem>is\u003c/em> REALLY sad). My most recent discovery, \u003ca href=\"https://www.facebook.com/thedollop?fref=nf\" target=\"_blank\" rel=\"noopener\">The Dollop\u003c/a> with Dave Anthony and Gareth Reynolds, has had me wearing headphones at all times of the day. Each episode consists of Anthony, a standup comedian and writer/actor for IFC’s \u003cem>Maron\u003c/em>, reading an article about a messed up time in history to Reynolds, an up-and-coming standup and actor. Each story has been hand-picked to be ripped apart by the two, and they have a blast doing it. I highly suggest starting with the episode about \u003ca href=\"http://thedollop.libsyn.com/51-smollop-michael-malloy\" target=\"_blank\" rel=\"noopener\">Iron Michael Molloy\u003c/a> or \u003ca href=\"http://thedollop.libsyn.com/54-cassius-clay\" target=\"_blank\" rel=\"noopener\">the one on Cassius Clay\u003c/a>.\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\">8tracks\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/kuX2JYUKQeY'\n title='//www.youtube.com/embed/kuX2JYUKQeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve recently been spending a lot of time on the \u003ca href=\"http://8tracks.com/\" target=\"_blank\" rel=\"noopener\">8tracks\u003c/a> app. Their main shtick is “internet radio created by people, not algorithms.” Music lovers create mixtapes of their own, to share with friends. It’s been a sweet way for me to discover new artists, and some of the mixes are 3-5 hours long and equally as good at the start as the end. I’ve been playing through their IDM, glitch-hop, minimal techno and ambient mixes and have been surprised by their selection. I’ll still use SoundCloud and Spotify, but 8tracks is my jam right now.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rockage-4-0-unites-gaming-music-under-one-nerdy-parasol",
"title": "Rockage 4.0 Unites Gaming, Music Under “One Nerdy Parasol”",
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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/rockage-4-0/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rockage 4.0\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day celebration of gaming and music.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose State Student Union\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rockage-4-0/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“I’m Eric Fanali, I’m the creator of Rockage, and I’d love to talk to you all day about this.”\u003c/p>\n\u003cp>Fanali can’t help himself – \u003ca href=\"http://rockagesj.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is his four-year-old, three-day-long child, a project he conceived to “connect people from different communities under one nerdy parasol,” and when we talk, it’s only a few weeks away. Some may only stop by the event—running Feb. 6-8—for a few hours, but he’s been planning those 72 hours for 11 months. \u003c/p>\n\u003cp>Fanali, a longtime promoter of punk and indie shows in the South Bay, reserves a special enthusiasm for Rockage. “I grew up playing games, and love the music from games. Now that people can incorporate that into live music, I’m all about it,” he says.\u003c/p>\n\u003cp>The mash-up of the two pastimes is represented at Rockage in fun and unexpected ways – expect everything from free arcade gameplay and funked-up video game covers to live shows that involve the act of live “\u003ca href=\"http://en.wikipedia.org/wiki/Speedrun\" target=\"_blank\" rel=\"noopener\">speedrunning\u003c/a>,” an act where gamers attempt to play, and finish, a game as quickly as possible regardless of score.\u003c/p>\n\u003cp>Music headliners this year include Portland’s the Thermals, making their Rockage debut; Bit Brigade, who will play alongside gamer Noah McCarthy as he attempts to complete Metroid in just 49 minutes; and \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros.\u003c/a>, a San Jose-based band known for their electric take on video game tunes. In fact, 42 bands in total play from Friday to Sunday, the largest gathering of musicians Fanali has ever assembled. Rockage will also include a series of 30-minute panels on everything from Mario Paint to Dungeons & Dragons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One sound that captures the dual nature of Rockage’s programming is a musical movement Fanali characterizes as “digital punk rock”: chiptune, a style united by artists who use modified game systems to manipulate sounds created on the original Nintendo Entertainment System (NES) or Nintendo’s first portable gaming device, the Game Boy.\u003c/p>\n\u003cp>“I think right now, chiptune is really an aesthetic more than anything,” explains Morgan Tucker, who utilizes elements of the sound as part of his project \u003ca href=\"http://crashfaster.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">crashfaster\u003c/a>. He’s also the founder of \u003ca href=\"http://www.8bitsf.com/\" target=\"_blank\" rel=\"noopener\">8bitSF\u003c/a>, which hosts a monthly chiptune party at DNA Lounge in San Francisco. \u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5ZjgTO7u-ss&w=560&h=315]\u003c/p>\n\u003cp>The limited capability of the dated technology, coupled with the low cost of entry – Tucker says one can start making chiptune music for under $100 – has made it a wide-open space for creativity. That’s what attracted Oakland composer and multi-instrumentalist Matthew Joseph Payne, who returns to Rockage to perform with his group the \u003ca href=\"http://themineralkingdom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mineral Kingdom\u003c/a>.\u003c/p>\n\u003cp>“I think that there’s a lot to say for self-imposed limitations and restrictions as part of the compositional process. I know that’s a big part of it for me. At least it was when I started out,” Payne explains. “Now, I’ve done it for so long that it’s more about a very specific instrument that I’m very comfortable with.” \u003c/p>\n\u003cp>The different styles of the Mineral Kingdom and crashfaster help highlight Tucker’s point about chiptune as an aesthetic choice more than a unified sound. Crashfaster is rooted more in electro, likely stemming from Tucker’s interest in electronic and industrial music. Payne is a working composer, constantly delivering unlikely musical pairings with fascinating results.\u003c/p>\n\u003cp>Likewise, the unlikely pairings at the event aim to inspire open exploration of new fascinations, whether it’s a tournament gamer coming across a band they enjoy or a music junkie stumbling upon an old favorite console. To Eric Fanali, that’s what it’s all about. \u003c/p>\n\u003cp>“If it’s one thing I do in my lifetime,” he starts, before stopping to firmly snap his fingers and knock on wood, it’s to “connect as many people as possible, because if I can’t do something great, they can together.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=JGAW-VuLVpA&w=560&h=315]\u003c/p>\n\u003cp>One such connection takes place Saturday, when Payne takes the stage with A/B Duo. A/B Duo member Meerenai Shim, who also plays flute in Mineral Kingdom, commissioned a piece from Payne meant to sound like a video game score. During their set, A/B Duo will perform Payne’s composition while he plays a video game that Shim, in turn, designed to go along with the score. It’s a moment that could only happen at Rockage.\u003c/p>\n\u003cp>One aspect of the event’s new connection to San Jose State is the involvement of SJS’s \u003ca href=\"http://sjsugamedev.com/\" target=\"_blank\" rel=\"noopener\">Game Development Club\u003c/a>. Gamers get the chance to see students’ game design at work, beautifully on display in custom-made arcade cabinets, but it’s also an opportunity for the design students, as Rockage gives them a chance to watch the public react to the worlds they’ve created.\u003c/p>\n\u003cp>“We’re being put on the same level as both the indie developers that show up at Rockage and the professional cabinets that sit in the arcade room,” says James Morgan, faculty advisor for the club. “It’s all kind of a level playing field, and I think that does a lot to help the students. That makes them work a little bit harder because they really want to shine in that space.”\u003c/p>\n\u003cp>Several people involved with Rockage say this unifying spirit—a tone set by Fanali—is contagious, and what makes the festival feel so casual and welcoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tucker’s final words seem to capture that community spirit, echoed by all interviewed. “To be honest with you,” he says, “I’m most excited to see all my friends.”\u003c/p>\n\n",
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"excerpt": "The intersection of music and video games reaches full tilt at this fourth-annual festival, including performances of 8-bit \"chiptune\" artists, competitions and panels.",
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"title": "Rockage 4.0 Unites Gaming, Music Under “One Nerdy Parasol” | 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/rockage-4-0/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Rockage 4.0\u003c/h2>\n\u003cdiv class=\"event-desc\">Three-day celebration of gaming and music.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 6-8, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">San Jose State Student Union\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/rockage-4-0/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“I’m Eric Fanali, I’m the creator of Rockage, and I’d love to talk to you all day about this.”\u003c/p>\n\u003cp>Fanali can’t help himself – \u003ca href=\"http://rockagesj.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is his four-year-old, three-day-long child, a project he conceived to “connect people from different communities under one nerdy parasol,” and when we talk, it’s only a few weeks away. Some may only stop by the event—running Feb. 6-8—for a few hours, but he’s been planning those 72 hours for 11 months. \u003c/p>\n\u003cp>Fanali, a longtime promoter of punk and indie shows in the South Bay, reserves a special enthusiasm for Rockage. “I grew up playing games, and love the music from games. Now that people can incorporate that into live music, I’m all about it,” he says.\u003c/p>\n\u003cp>The mash-up of the two pastimes is represented at Rockage in fun and unexpected ways – expect everything from free arcade gameplay and funked-up video game covers to live shows that involve the act of live “\u003ca href=\"http://en.wikipedia.org/wiki/Speedrun\" target=\"_blank\" rel=\"noopener\">speedrunning\u003c/a>,” an act where gamers attempt to play, and finish, a game as quickly as possible regardless of score.\u003c/p>\n\u003cp>Music headliners this year include Portland’s the Thermals, making their Rockage debut; Bit Brigade, who will play alongside gamer Noah McCarthy as he attempts to complete Metroid in just 49 minutes; and \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros.\u003c/a>, a San Jose-based band known for their electric take on video game tunes. In fact, 42 bands in total play from Friday to Sunday, the largest gathering of musicians Fanali has ever assembled. Rockage will also include a series of 30-minute panels on everything from Mario Paint to Dungeons & Dragons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One sound that captures the dual nature of Rockage’s programming is a musical movement Fanali characterizes as “digital punk rock”: chiptune, a style united by artists who use modified game systems to manipulate sounds created on the original Nintendo Entertainment System (NES) or Nintendo’s first portable gaming device, the Game Boy.\u003c/p>\n\u003cp>“I think right now, chiptune is really an aesthetic more than anything,” explains Morgan Tucker, who utilizes elements of the sound as part of his project \u003ca href=\"http://crashfaster.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">crashfaster\u003c/a>. He’s also the founder of \u003ca href=\"http://www.8bitsf.com/\" target=\"_blank\" rel=\"noopener\">8bitSF\u003c/a>, which hosts a monthly chiptune party at DNA Lounge in San Francisco. \u003c/p>\n\u003cp>\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/5ZjgTO7u-ss'\n title='//www.youtube.com/embed/5ZjgTO7u-ss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The limited capability of the dated technology, coupled with the low cost of entry – Tucker says one can start making chiptune music for under $100 – has made it a wide-open space for creativity. That’s what attracted Oakland composer and multi-instrumentalist Matthew Joseph Payne, who returns to Rockage to perform with his group the \u003ca href=\"http://themineralkingdom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mineral Kingdom\u003c/a>.\u003c/p>\n\u003cp>“I think that there’s a lot to say for self-imposed limitations and restrictions as part of the compositional process. I know that’s a big part of it for me. At least it was when I started out,” Payne explains. “Now, I’ve done it for so long that it’s more about a very specific instrument that I’m very comfortable with.” \u003c/p>\n\u003cp>The different styles of the Mineral Kingdom and crashfaster help highlight Tucker’s point about chiptune as an aesthetic choice more than a unified sound. Crashfaster is rooted more in electro, likely stemming from Tucker’s interest in electronic and industrial music. Payne is a working composer, constantly delivering unlikely musical pairings with fascinating results.\u003c/p>\n\u003cp>Likewise, the unlikely pairings at the event aim to inspire open exploration of new fascinations, whether it’s a tournament gamer coming across a band they enjoy or a music junkie stumbling upon an old favorite console. To Eric Fanali, that’s what it’s all about. \u003c/p>\n\u003cp>“If it’s one thing I do in my lifetime,” he starts, before stopping to firmly snap his fingers and knock on wood, it’s to “connect as many people as possible, because if I can’t do something great, they can together.”\u003c/p>\n\u003cp>\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/JGAW-VuLVpA'\n title='//www.youtube.com/embed/JGAW-VuLVpA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One such connection takes place Saturday, when Payne takes the stage with A/B Duo. A/B Duo member Meerenai Shim, who also plays flute in Mineral Kingdom, commissioned a piece from Payne meant to sound like a video game score. During their set, A/B Duo will perform Payne’s composition while he plays a video game that Shim, in turn, designed to go along with the score. It’s a moment that could only happen at Rockage.\u003c/p>\n\u003cp>One aspect of the event’s new connection to San Jose State is the involvement of SJS’s \u003ca href=\"http://sjsugamedev.com/\" target=\"_blank\" rel=\"noopener\">Game Development Club\u003c/a>. Gamers get the chance to see students’ game design at work, beautifully on display in custom-made arcade cabinets, but it’s also an opportunity for the design students, as Rockage gives them a chance to watch the public react to the worlds they’ve created.\u003c/p>\n\u003cp>“We’re being put on the same level as both the indie developers that show up at Rockage and the professional cabinets that sit in the arcade room,” says James Morgan, faculty advisor for the club. “It’s all kind of a level playing field, and I think that does a lot to help the students. That makes them work a little bit harder because they really want to shine in that space.”\u003c/p>\n\u003cp>Several people involved with Rockage say this unifying spirit—a tone set by Fanali—is contagious, and what makes the festival feel so casual and welcoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tucker’s final words seem to capture that community spirit, echoed by all interviewed. “To be honest with you,” he says, “I’m most excited to see all my friends.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Caught in Apple’s Infinite Loop",
"headTitle": "Caught in Apple’s Infinite Loop | KQED",
"content": "\u003cp>I always get lost in \u003ca href=\"http://www.cupertino.org/\" target=\"_blank\" rel=\"noopener\">Cupertino\u003c/a>. Do I get off on Stevens Creek or De Anza? I curse Highways 85 and 280 and the indistinguishable grid of strip malls and car dealerships I’ve found myself locked in. I hold the home button on my iPhone until I hear the familiar chime. “How do I get to Infinite Loop?” I ask Siri.\u003c/p>\n\u003cp>Although my navigation skills are shaky at best, I grew up in Silicon Valley, and I know that before computer chips, this valley was known for its fruit. My parents remember walking through open plum, apricot and cherry orchards that contained more trees than people who lived in their small town. When you drive through the South Bay today, office buildings and suburban sprawl have largely supplanted these trees. The only fruit to speak of in this valley now is \u003ca href=\"https://www.apple.com/\" target=\"_blank\" rel=\"noopener\">Apple\u003c/a>.\u003c/p>\n\u003cp>While I’ve had far too few occasions to frolic through the few remaining orchards as a child, I did unwittingly meander across Apple’s campus every time my family drove along De Anza Boulevard near the 280 interchange in Cupertino. Along this stretch of road, seemingly omnipresent Apple employees identified by Apple badges wait to cross the busy intersection as they move in a steady stream between their ever-sprawling office buildings.\u003c/p>\n\u003cfigure id=\"attachment_10296799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10296799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg\" alt=\"Apple's One Infinite Loop, 2015\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade-399x600.jpg 399w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Apple’s One Infinite Loop, 2015 \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I carefully try to avoid these Apple workers as I pull onto Infinite Loop, the street that encircles Apple’s first campus. I see Apple’s sign and the address reads as One Infinite Loop, which is a reference to computer programming that goes completely over my head. The Apple employees I’ve met refer to it as “IL,” and it always seems to be on the tip of their tongues. “You have arrived at your destination,” says Siri.\u003c/p>\n\u003cp>Steve Jobs put Cupertino on the map, literally—Apple headquarters are the icon for the Apple Maps app. Jobs grew up in Cupertino, attending \u003ca href=\"http://www.edline.net/pages/Cupertino_Middle_School\" target=\"_blank\" rel=\"noopener\">Cupertino Middle School\u003c/a> and \u003ca href=\"http://www.hhs.fuhsd.org/\" target=\"_blank\" rel=\"noopener\">Homestead High School\u003c/a>. When Apple was ready to leave Jobs’ parents’ garage, it began in earnest in Cupertino. And when Apple decided to build “the best office building in the world” with a second campus in Cupertino (both fondly and ominously referred to as the mothership), it firmly rooted itself in this dusty corner of the Silicon Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[googlemaps https://www.google.com/maps/embed?pb=!1m12!1m8!1m3!1d3172.4606343720334!2d-122.02994950000001!3d37.33160199999999!3m2!1i1024!2i768!4f13.1!2m1!1sapple+infinite+loop!5e0!3m2!1sen!2sus!4v1421092796629&w=600&h=450]\u003c/p>\n\u003cp>Sitting in the center courtyard of IL1 as a lunch guest, it’s hard to remember I’m only 15 minutes from where I grew up. After devouring delicious sushi made by Toshi Sakuma, whom Jobs hired personally, I look up and notice senior vice president of design, Jony Ive, sitting one table over. I hear conversations in three different languages as I decide to return to the cafeteria for gelato and an espresso. When in Cupertino, right?\u003c/p>\n\u003cfigure id=\"attachment_10296802\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10296802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg\" alt=\"The Company Store at Apple's Infinite Loop, 2015\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store-399x600.jpg 399w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Company Store at Apple’s Infinite Loop, 2015 \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cupertino doesn’t even have enough traffic to sustain its own Apple Store. There is, however, the \u003ca href=\"https://www.apple.com/companystore/\" target=\"_blank\" rel=\"noopener\">Company Store\u003c/a> at Infinite Loop with more Apple memorabilia than electronics. Shirts, hats, baby onesies and more boast Apple logos and ever changing catch phrases like, “iPhone, therefore I am,” and “The mothership has landed.” These can only be the products of a self-aware company poking fun at its iconic status and the need to have a gift shop at its corporate headquarters.\u003c/p>\n\u003cp>When I return to IL on a Sunday to take some photos, I am surprised to see families and tourists congregating around the office complex. Coming from places as far flung as Hong Kong and Russia, these Apple enthusiasts seem both worshipful and a little disappointed. Firstly that the Company Store is closed, and secondly, that there isn’t more to see on the campus or in the surrounding area. Maybe there is enough traffic after all?\u003c/p>\n\u003cp>A Vietnamese group by way of Los Angeles asks me to take their picture in front of the Infinite Loop sign. This is just one stop in their tour of the Silicon Valley. When I ask them what their impression of Cupertino is, they are silent. Maybe because I just told them I was from around here. \u003c/p>\n\u003cp>“It seems disconnected,” the non-Apple lover in the group declares. “San Francisco is much more vibrant.”\u003c/p>\n\u003cp>As I drive away from IL, I see one of many construction projects underway, with a sign that reads, “Welcome to Downtown Cupertino.” I can’t help but laugh.\u003c/p>\n\u003cp>Established in 1955, it may seem that Cupertino could not exist without Apple. However, it’s Apple that truly needs Cupertino to humble its infallible monolithic posturing. In the low-quality video below, Jobs addresses a mostly empty Cupertino City Council on Apple’s 30th anniversary and explains its decision to stay. Without a keynote presentation, without a legion of followers, it is easier to see Jobs as just another Cupertino constituent.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=meVQqYNGzYA?rel=0&controls=0&showinfo=0]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple is moving veritable mountains along Homestead Road. Before the mothership lands, take a look around so you can say you knew Cupertino when.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I always get lost in \u003ca href=\"http://www.cupertino.org/\" target=\"_blank\" rel=\"noopener\">Cupertino\u003c/a>. Do I get off on Stevens Creek or De Anza? I curse Highways 85 and 280 and the indistinguishable grid of strip malls and car dealerships I’ve found myself locked in. I hold the home button on my iPhone until I hear the familiar chime. “How do I get to Infinite Loop?” I ask Siri.\u003c/p>\n\u003cp>Although my navigation skills are shaky at best, I grew up in Silicon Valley, and I know that before computer chips, this valley was known for its fruit. My parents remember walking through open plum, apricot and cherry orchards that contained more trees than people who lived in their small town. When you drive through the South Bay today, office buildings and suburban sprawl have largely supplanted these trees. The only fruit to speak of in this valley now is \u003ca href=\"https://www.apple.com/\" target=\"_blank\" rel=\"noopener\">Apple\u003c/a>.\u003c/p>\n\u003cp>While I’ve had far too few occasions to frolic through the few remaining orchards as a child, I did unwittingly meander across Apple’s campus every time my family drove along De Anza Boulevard near the 280 interchange in Cupertino. Along this stretch of road, seemingly omnipresent Apple employees identified by Apple badges wait to cross the busy intersection as they move in a steady stream between their ever-sprawling office buildings.\u003c/p>\n\u003cfigure id=\"attachment_10296799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10296799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg\" alt=\"Apple's One Infinite Loop, 2015\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Facade-399x600.jpg 399w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Apple’s One Infinite Loop, 2015 \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I carefully try to avoid these Apple workers as I pull onto Infinite Loop, the street that encircles Apple’s first campus. I see Apple’s sign and the address reads as One Infinite Loop, which is a reference to computer programming that goes completely over my head. The Apple employees I’ve met refer to it as “IL,” and it always seems to be on the tip of their tongues. “You have arrived at your destination,” says Siri.\u003c/p>\n\u003cp>Steve Jobs put Cupertino on the map, literally—Apple headquarters are the icon for the Apple Maps app. Jobs grew up in Cupertino, attending \u003ca href=\"http://www.edline.net/pages/Cupertino_Middle_School\" target=\"_blank\" rel=\"noopener\">Cupertino Middle School\u003c/a> and \u003ca href=\"http://www.hhs.fuhsd.org/\" target=\"_blank\" rel=\"noopener\">Homestead High School\u003c/a>. When Apple was ready to leave Jobs’ parents’ garage, it began in earnest in Cupertino. And when Apple decided to build “the best office building in the world” with a second campus in Cupertino (both fondly and ominously referred to as the mothership), it firmly rooted itself in this dusty corner of the Silicon Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m12!1m8!1m3!1d3172.4606343720334!2d-122.02994950000001!3d37.33160199999999!3m2!1i1024!2i768!4f13.1!2m1!1sapple+infinite+loop!5e0!3m2!1sen!2sus!4v1421092796629&w=600&h=450'\n title='https://www.google.com/maps/embed?pb=!1m12!1m8!1m3!1d3172.4606343720334!2d-122.02994950000001!3d37.33160199999999!3m2!1i1024!2i768!4f13.1!2m1!1sapple+infinite+loop!5e0!3m2!1sen!2sus!4v1421092796629&w=600&h=450'\n width='600'\n height='450'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sitting in the center courtyard of IL1 as a lunch guest, it’s hard to remember I’m only 15 minutes from where I grew up. After devouring delicious sushi made by Toshi Sakuma, whom Jobs hired personally, I look up and notice senior vice president of design, Jony Ive, sitting one table over. I hear conversations in three different languages as I decide to return to the cafeteria for gelato and an espresso. When in Cupertino, right?\u003c/p>\n\u003cfigure id=\"attachment_10296802\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10296802\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg\" alt=\"The Company Store at Apple's Infinite Loop, 2015\" width=\"640\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/IL-Company-Store-399x600.jpg 399w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Company Store at Apple’s Infinite Loop, 2015 \u003ccite>(Adrienne Blaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cupertino doesn’t even have enough traffic to sustain its own Apple Store. There is, however, the \u003ca href=\"https://www.apple.com/companystore/\" target=\"_blank\" rel=\"noopener\">Company Store\u003c/a> at Infinite Loop with more Apple memorabilia than electronics. Shirts, hats, baby onesies and more boast Apple logos and ever changing catch phrases like, “iPhone, therefore I am,” and “The mothership has landed.” These can only be the products of a self-aware company poking fun at its iconic status and the need to have a gift shop at its corporate headquarters.\u003c/p>\n\u003cp>When I return to IL on a Sunday to take some photos, I am surprised to see families and tourists congregating around the office complex. Coming from places as far flung as Hong Kong and Russia, these Apple enthusiasts seem both worshipful and a little disappointed. Firstly that the Company Store is closed, and secondly, that there isn’t more to see on the campus or in the surrounding area. Maybe there is enough traffic after all?\u003c/p>\n\u003cp>A Vietnamese group by way of Los Angeles asks me to take their picture in front of the Infinite Loop sign. This is just one stop in their tour of the Silicon Valley. When I ask them what their impression of Cupertino is, they are silent. Maybe because I just told them I was from around here. \u003c/p>\n\u003cp>“It seems disconnected,” the non-Apple lover in the group declares. “San Francisco is much more vibrant.”\u003c/p>\n\u003cp>As I drive away from IL, I see one of many construction projects underway, with a sign that reads, “Welcome to Downtown Cupertino.” I can’t help but laugh.\u003c/p>\n\u003cp>Established in 1955, it may seem that Cupertino could not exist without Apple. However, it’s Apple that truly needs Cupertino to humble its infallible monolithic posturing. In the low-quality video below, Jobs addresses a mostly empty Cupertino City Council on Apple’s 30th anniversary and explains its decision to stay. Without a keynote presentation, without a legion of followers, it is easier to see Jobs as just another Cupertino constituent.\u003c/p>\n\u003cp>\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/meVQqYNGzYA?rel=0'\n title='//www.youtube.com/embed/meVQqYNGzYA?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple is moving veritable mountains along Homestead Road. Before the mothership lands, take a look around so you can say you knew Cupertino when.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My high school experience was—to use the official adjective of sullen teenagers—“fine.” I wasn’t tortured by jocks or mocked by mean girls. I wasn’t a nerd. I wasn’t interesting or smart enough to be considered one. I was just sort of there, doing my best to stay out of the way.\u003c/p>\n\u003cp>If I were to relive high school today, knowing what I know now, would I make the same sensible (i.e., boring) choices? I don’t have a DeLorean and flux capacitor, but I do have an iPhone and plenty of free time. These days that’s enough to get an answer.\u003c/p>\n\u003cp>\u003ca href=\"http://store.steampowered.com/app/339510/\" target=\"_blank\" rel=\"noopener\">Psy High\u003c/a> is a choose your adventure story/game that allows users to step into the shoes of a psychic high school student. The player’s choices determine the main character’s personality and the plot of the story. And while there’s an overarching mystery for the player to unravel (why are the students suddenly so studious?), I began the game with a mission of my own: to turn my character into a loud, overly confident, back stabbing, two-timing, test-cheating asshat.\u003c/p>\n\u003cp>Why? I wanted to be a character who, unlike the real me, would be reviled by students and faculty for years to come. (Lord knows I still remember the jerks from my high school days.) Plus, bad choices are more fun, especially when there no consequences. That was my theory, anyway.\u003c/p>\n\u003cp>I named my alter ego Chaz and got to work by shoving a freshman in the hallway. The real me felt bad about the bullying, but I bravely powered through the guilt. The game progressed. I lied to my parents, broke curfew, ratted out my friend to the scary teacher, broke into school, and ditched my oldest pal because she wasn’t popular enough. I even started dealing drugs on campus (really, that’s possible in the game).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first being a butthead was fun. But as I continued playing, something strange happened. I found it harder and harder to act like a jerk. The game hadn’t changed. I could still make any number of poor choices, but it was as if my natural instincts to follow the rules and do the right (boring) thing were setting in.\u003c/p>\n\u003cp>I got annoyed. This is a game, I mumbled to myself. Do something rebellious, Chaz baby. Don’t stay after class for extra credit. Sabotage the pep rally! Don’t be nice to the drama geeks! Threaten your rival for the lead in the school play with physical harm!\u003c/p>\n\u003cp>But the harder I tried to be the kind of unforgettable jerk that my classmates would describe to therapists for years to come, the more I wanted to be a nice, average guy. I had yearned to be Chaz in all his Chazziness. But ’twas not meant to be. As Sammy Davis Jr. said, I gotta be me.\u003c/p>\n\u003cp>By the end of the game, my character had changed from obnoxious jerk to studious do-gooder. Bad Chaz had left the building, never to return.\u003c/p>\n\u003cp>That’s not to say the real me always does the right thing and follows the rules. Hardly. But, if this game is any indication, I usually try. Bummer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, if I could go back to high school and do it all over again, would I? Nope. I’ve seen the future and I think my past would turn out pretty much the same way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My high school experience was—to use the official adjective of sullen teenagers—“fine.” I wasn’t tortured by jocks or mocked by mean girls. I wasn’t a nerd. I wasn’t interesting or smart enough to be considered one. I was just sort of there, doing my best to stay out of the way.\u003c/p>\n\u003cp>If I were to relive high school today, knowing what I know now, would I make the same sensible (i.e., boring) choices? I don’t have a DeLorean and flux capacitor, but I do have an iPhone and plenty of free time. These days that’s enough to get an answer.\u003c/p>\n\u003cp>\u003ca href=\"http://store.steampowered.com/app/339510/\" target=\"_blank\" rel=\"noopener\">Psy High\u003c/a> is a choose your adventure story/game that allows users to step into the shoes of a psychic high school student. The player’s choices determine the main character’s personality and the plot of the story. And while there’s an overarching mystery for the player to unravel (why are the students suddenly so studious?), I began the game with a mission of my own: to turn my character into a loud, overly confident, back stabbing, two-timing, test-cheating asshat.\u003c/p>\n\u003cp>Why? I wanted to be a character who, unlike the real me, would be reviled by students and faculty for years to come. (Lord knows I still remember the jerks from my high school days.) Plus, bad choices are more fun, especially when there no consequences. That was my theory, anyway.\u003c/p>\n\u003cp>I named my alter ego Chaz and got to work by shoving a freshman in the hallway. The real me felt bad about the bullying, but I bravely powered through the guilt. The game progressed. I lied to my parents, broke curfew, ratted out my friend to the scary teacher, broke into school, and ditched my oldest pal because she wasn’t popular enough. I even started dealing drugs on campus (really, that’s possible in the game).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first being a butthead was fun. But as I continued playing, something strange happened. I found it harder and harder to act like a jerk. The game hadn’t changed. I could still make any number of poor choices, but it was as if my natural instincts to follow the rules and do the right (boring) thing were setting in.\u003c/p>\n\u003cp>I got annoyed. This is a game, I mumbled to myself. Do something rebellious, Chaz baby. Don’t stay after class for extra credit. Sabotage the pep rally! Don’t be nice to the drama geeks! Threaten your rival for the lead in the school play with physical harm!\u003c/p>\n\u003cp>But the harder I tried to be the kind of unforgettable jerk that my classmates would describe to therapists for years to come, the more I wanted to be a nice, average guy. I had yearned to be Chaz in all his Chazziness. But ’twas not meant to be. As Sammy Davis Jr. said, I gotta be me.\u003c/p>\n\u003cp>By the end of the game, my character had changed from obnoxious jerk to studious do-gooder. Bad Chaz had left the building, never to return.\u003c/p>\n\u003cp>That’s not to say the real me always does the right thing and follows the rules. Hardly. But, if this game is any indication, I usually try. Bummer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, if I could go back to high school and do it all over again, would I? Nope. I’ve seen the future and I think my past would turn out pretty much the same way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oscar Nominations a Smokescreen for Hollywood's Financial Reality",
"headTitle": "Oscar Nominations a Smokescreen for Hollywood’s Financial Reality | KQED",
"content": "\u003cp>The announcement of nominees for the Academy Awards, the American film industry’s highest honor, took place in Los Angeles early this morning. The riches were spread among a mere handful of pictures, with \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em> and \u003cem>The Grand Budapest Hotel\u003c/em> nabbing nine nominations apiece. \u003cem>The Imitation Game\u003c/em> scored eight nods, and \u003cem>Boyhood\u003c/em> and \u003cem>American Sniper\u003c/em> each tallied six.\u003c/p>\n\u003cp>Those five titles—notably, three of them independent films, and one British—are in the running for Best Picture, along with \u003cem>Selma\u003c/em> (one of only two studio productions, the other being \u003cem>American Sniper\u003c/em>), \u003cem>The Theory of Everything\u003c/em> (also from England), and another indie and the biggest surprise in this category, \u003cem>Whiplash\u003c/em>.\u003c/p>\n\u003cp>Only two of the Best Picture nominees were released before Labor Day last year, confirming the thinking moviegoer’s perception that Hollywood essentially ignores adults for seven months of the year. (January is a special case, with \u003cem>American Sniper\u003c/em> and \u003cem>Selma\u003c/em> now receiving national releases and the other nominees opportunistically opening wider.)\u003c/p>\n\u003cp>But today’s nominations also serve as a smokescreen. The Hollywood studios will spend every minute until ABC’s Oscar telecast on Feb. 22 toasting “quality” and “art,” but their bread and butter—and allegiance and attention—is in blockbusters propelled by brand-name recognition (i.e., sequels) and special effects. This is not a new development in American cinema, but it’s fascinating this time of year to observe the deftness with which the industry masks its usual priorities.\u003c/p>\n\u003cfigure id=\"attachment_10305920\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Interstellar.jpg\" alt=\"'Interstellar,' though well-received, picked up nominations only for technical awards. \" width=\"500\" height=\"333\" class=\"size-full wp-image-10305920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Interstellar,’ though well-received, picked up nominations only for technical awards.\u003c/figcaption>\u003c/figure>\n\u003cp>The bluff and bluster also will obscure the fact that the number of movie tickets sold last year was down five percent from 2013, and in fact marked its lowest level in 20 years (even as the average ticket price remained unchanged and the overall economy improved slightly). From an existential standpoint, the big screen is steadily being overtaken by smaller screens, with long-form television gradually replacing film as the benchmark for quality adult entertainment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A perennial side effect of the blockbuster approach is the lack of great roles for women, which is reflected in this year’s nominees. Rosamund Pike (\u003cem>Gone Girl\u003c/em>) and Felicity Jones (\u003cem>The Theory of Everything\u003c/em>) provide the glamour in the Best Actress category, while one could say Julianne Moore (\u003cem>Still Alice\u003c/em>), Reese Witherspoon (\u003cem>Wild\u003c/em>) and Marion Cotillard (\u003cem>Two Days, One Night\u003c/em>) were acknowledged for bravely shedding their glamour.\u003c/p>\n\u003cp>The Supporting Actress category features Patricia Arquette, whose performance was essential to \u003cem>Boyhood\u003c/em>, and Laura Dern, who succeeded in creating a vivid, touching character in just a few minutes of chopped-up flashbacks in \u003cem>Wild\u003c/em>. Keira Knightley (\u003cem>The Imitation Game\u003c/em>) and Emma Stone (\u003cem>Birdman\u003c/em>) made the most of what were incidental roles, to put it frankly, while the inclusion yet again of Meryl Streep (\u003cem>Into the Woods\u003c/em>) attests to the shortage of good female roles this year (or confirms our suspicion that Streep’s name puts Academy members under a spell).\u003c/p>\n\u003cp>The Best Actor nominees are notable for the physicality of their performances. Eddie Redmayne (\u003cem>The Theory of Everything\u003c/em>), Steve Carell (\u003cem>Foxcatcher\u003c/em>) and Michael Keaton (\u003cem>Birdman\u003c/em>) did unique and unexpected work, while Bradley Cooper (\u003cem>American Sniper\u003c/em>) and Benedict Cumberbatch (\u003cem>The Imitation Game\u003c/em>) offered contrasting takes on masculinity.\u003c/p>\n\u003cp>As always, several high-profile films came up short, notably Angelina Jolie’s ambitious \u003cem>Unbroken\u003c/em> (nominations only for cinematography, sound editing and sound mixing) and David Fincher’s much-hyped \u003cem>Gone Girl\u003c/em> (just Rosamund Pike). Among the year’s biggest-grossing films, \u003cem>Interstellar\u003c/em> was recognized for original score, production design, visual effects, sound mixing and sound editing.\u003c/p>\n\u003cp>There was a surfeit of strong documentaries last year, led by Laura Poitras’ \u003cem>Citizenfour\u003c/em> and the artist portrait \u003cem>Finding Vivian Maier\u003c/em>. The other nominees, somewhat surprisingly, are \u003cem>Last Days in Vietnam\u003c/em>, \u003cem>Salt of the Earth\u003c/em> and \u003cem>Virunga\u003c/em>.\u003c/p>\n\u003cp>Aficionados will also debate the Foreign Language finalists, led by runaway favorite \u003cem>Ida\u003c/em> (Poland) with \u003cem>Timbuktu\u003c/em> (Mauritania), \u003cem>Tangerines\u003c/em> (Estonia), \u003cem>Leviathan\u003c/em> (Russia) and \u003cem>Wild Tales\u003c/em> (Argentina) filling out the field.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today’s focus, for better or worse, is the vestiges of prestige and glitter that the Oscars can still muster in a world of myriad award shows and devalued stardom.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The announcement of nominees for the Academy Awards, the American film industry’s highest honor, took place in Los Angeles early this morning. The riches were spread among a mere handful of pictures, with \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em> and \u003cem>The Grand Budapest Hotel\u003c/em> nabbing nine nominations apiece. \u003cem>The Imitation Game\u003c/em> scored eight nods, and \u003cem>Boyhood\u003c/em> and \u003cem>American Sniper\u003c/em> each tallied six.\u003c/p>\n\u003cp>Those five titles—notably, three of them independent films, and one British—are in the running for Best Picture, along with \u003cem>Selma\u003c/em> (one of only two studio productions, the other being \u003cem>American Sniper\u003c/em>), \u003cem>The Theory of Everything\u003c/em> (also from England), and another indie and the biggest surprise in this category, \u003cem>Whiplash\u003c/em>.\u003c/p>\n\u003cp>Only two of the Best Picture nominees were released before Labor Day last year, confirming the thinking moviegoer’s perception that Hollywood essentially ignores adults for seven months of the year. (January is a special case, with \u003cem>American Sniper\u003c/em> and \u003cem>Selma\u003c/em> now receiving national releases and the other nominees opportunistically opening wider.)\u003c/p>\n\u003cp>But today’s nominations also serve as a smokescreen. The Hollywood studios will spend every minute until ABC’s Oscar telecast on Feb. 22 toasting “quality” and “art,” but their bread and butter—and allegiance and attention—is in blockbusters propelled by brand-name recognition (i.e., sequels) and special effects. This is not a new development in American cinema, but it’s fascinating this time of year to observe the deftness with which the industry masks its usual priorities.\u003c/p>\n\u003cfigure id=\"attachment_10305920\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Interstellar.jpg\" alt=\"'Interstellar,' though well-received, picked up nominations only for technical awards. \" width=\"500\" height=\"333\" class=\"size-full wp-image-10305920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Interstellar-400x266.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Interstellar,’ though well-received, picked up nominations only for technical awards.\u003c/figcaption>\u003c/figure>\n\u003cp>The bluff and bluster also will obscure the fact that the number of movie tickets sold last year was down five percent from 2013, and in fact marked its lowest level in 20 years (even as the average ticket price remained unchanged and the overall economy improved slightly). From an existential standpoint, the big screen is steadily being overtaken by smaller screens, with long-form television gradually replacing film as the benchmark for quality adult entertainment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A perennial side effect of the blockbuster approach is the lack of great roles for women, which is reflected in this year’s nominees. Rosamund Pike (\u003cem>Gone Girl\u003c/em>) and Felicity Jones (\u003cem>The Theory of Everything\u003c/em>) provide the glamour in the Best Actress category, while one could say Julianne Moore (\u003cem>Still Alice\u003c/em>), Reese Witherspoon (\u003cem>Wild\u003c/em>) and Marion Cotillard (\u003cem>Two Days, One Night\u003c/em>) were acknowledged for bravely shedding their glamour.\u003c/p>\n\u003cp>The Supporting Actress category features Patricia Arquette, whose performance was essential to \u003cem>Boyhood\u003c/em>, and Laura Dern, who succeeded in creating a vivid, touching character in just a few minutes of chopped-up flashbacks in \u003cem>Wild\u003c/em>. Keira Knightley (\u003cem>The Imitation Game\u003c/em>) and Emma Stone (\u003cem>Birdman\u003c/em>) made the most of what were incidental roles, to put it frankly, while the inclusion yet again of Meryl Streep (\u003cem>Into the Woods\u003c/em>) attests to the shortage of good female roles this year (or confirms our suspicion that Streep’s name puts Academy members under a spell).\u003c/p>\n\u003cp>The Best Actor nominees are notable for the physicality of their performances. Eddie Redmayne (\u003cem>The Theory of Everything\u003c/em>), Steve Carell (\u003cem>Foxcatcher\u003c/em>) and Michael Keaton (\u003cem>Birdman\u003c/em>) did unique and unexpected work, while Bradley Cooper (\u003cem>American Sniper\u003c/em>) and Benedict Cumberbatch (\u003cem>The Imitation Game\u003c/em>) offered contrasting takes on masculinity.\u003c/p>\n\u003cp>As always, several high-profile films came up short, notably Angelina Jolie’s ambitious \u003cem>Unbroken\u003c/em> (nominations only for cinematography, sound editing and sound mixing) and David Fincher’s much-hyped \u003cem>Gone Girl\u003c/em> (just Rosamund Pike). Among the year’s biggest-grossing films, \u003cem>Interstellar\u003c/em> was recognized for original score, production design, visual effects, sound mixing and sound editing.\u003c/p>\n\u003cp>There was a surfeit of strong documentaries last year, led by Laura Poitras’ \u003cem>Citizenfour\u003c/em> and the artist portrait \u003cem>Finding Vivian Maier\u003c/em>. The other nominees, somewhat surprisingly, are \u003cem>Last Days in Vietnam\u003c/em>, \u003cem>Salt of the Earth\u003c/em> and \u003cem>Virunga\u003c/em>.\u003c/p>\n\u003cp>Aficionados will also debate the Foreign Language finalists, led by runaway favorite \u003cem>Ida\u003c/em> (Poland) with \u003cem>Timbuktu\u003c/em> (Mauritania), \u003cem>Tangerines\u003c/em> (Estonia), \u003cem>Leviathan\u003c/em> (Russia) and \u003cem>Wild Tales\u003c/em> (Argentina) filling out the field.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today’s focus, for better or worse, is the vestiges of prestige and glitter that the Oscars can still muster in a world of myriad award shows and devalued stardom.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amazon has announced that Woody Allen will write and direct a new half-hour series for its video-streaming service — news that feels a little like hearing \u003cem>Mad Men\u003c/em>‘s Don Draper just founded an Internet advertising agency.\u003c/p>\n\u003cp>Allen, known for his old-school approach to filmmaking, may be the biggest name from Hollywood’s old studio system to step into the modern TV age. Even as film stars such as Matthew McConaughey and Kevin Spacey rack up awards and critical praise for their television work, auteurs such as Martin Scorsese and David Lynch have developed TV projects that nearly erase old boundaries between the worlds of film and television.\u003c/p>\n\u003cp>“I don’t know how I got into this,” reads a quote from Allen included in Amazon’s press release on the deal. “I have no ideas and I’m not sure where to begin.”\u003c/p>\n\u003cp>Amazon released few details on the series, currently named \u003cem>Untitled Woody Allen Project\u003c/em>. The series will feature half-hour episodes, but Amazon hasn’t said how many it will make, when they will be released or what the series idea is.\u003c/p>\n\u003cp>It’s a high-profile deal for Amazon, which made news Sunday by winning its first two Golden Globe awards for the original series on a character transitioning genders, \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when competitors such as Netflix are developing series with marquee names such as David Fincher (\u003cem>House of Cards\u003c/em>) and Tina Fey (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>), the Globes win and Allen deal may help Amazon remain competitive in an increasingly crowded field.\u003c/p>\n\u003cp>The news also drew criticism from some on Twitter, noting Allen’s controversial personal history, including his marriage to Soon-Yi Previn, the adopted daughter of his former longtime girlfriend Mia Farrow.\u003c/p>\n\u003cp>Dylan Farrow, who was adopted by Mia Farrow and Allen, also \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\">accused\u003c/a> the director of molesting her as a child in a column published in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>; Allen wrote his own column \u003ca href=\"http://www.nytimes.com/2014/02/09/opinion/sunday/woody-allen-speaks-out.html\">denying\u003c/a> the allegations.\u003c/p>\n\u003cp>As Allen’s name began trending on Twitter, some wondered if he would face the same public criticism — and problems with canceled projects — that befell Bill Cosby as a growing number of women have accused the comic of drugging and sexually assaulting them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this suggests that Amazon’s deal with Allen may offer unique challenges that reach far beyond the difficulties of translating Allen’s idea into the new medium of streaming television. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Woody+Allen+Is+The+Latest+Hollywood+Star+Director+To+Try+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon has announced that Woody Allen will write and direct a new half-hour series for its video-streaming service — news that feels a little like hearing \u003cem>Mad Men\u003c/em>‘s Don Draper just founded an Internet advertising agency.\u003c/p>\n\u003cp>Allen, known for his old-school approach to filmmaking, may be the biggest name from Hollywood’s old studio system to step into the modern TV age. Even as film stars such as Matthew McConaughey and Kevin Spacey rack up awards and critical praise for their television work, auteurs such as Martin Scorsese and David Lynch have developed TV projects that nearly erase old boundaries between the worlds of film and television.\u003c/p>\n\u003cp>“I don’t know how I got into this,” reads a quote from Allen included in Amazon’s press release on the deal. “I have no ideas and I’m not sure where to begin.”\u003c/p>\n\u003cp>Amazon released few details on the series, currently named \u003cem>Untitled Woody Allen Project\u003c/em>. The series will feature half-hour episodes, but Amazon hasn’t said how many it will make, when they will be released or what the series idea is.\u003c/p>\n\u003cp>It’s a high-profile deal for Amazon, which made news Sunday by winning its first two Golden Globe awards for the original series on a character transitioning genders, \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when competitors such as Netflix are developing series with marquee names such as David Fincher (\u003cem>House of Cards\u003c/em>) and Tina Fey (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>), the Globes win and Allen deal may help Amazon remain competitive in an increasingly crowded field.\u003c/p>\n\u003cp>The news also drew criticism from some on Twitter, noting Allen’s controversial personal history, including his marriage to Soon-Yi Previn, the adopted daughter of his former longtime girlfriend Mia Farrow.\u003c/p>\n\u003cp>Dylan Farrow, who was adopted by Mia Farrow and Allen, also \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\">accused\u003c/a> the director of molesting her as a child in a column published in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>; Allen wrote his own column \u003ca href=\"http://www.nytimes.com/2014/02/09/opinion/sunday/woody-allen-speaks-out.html\">denying\u003c/a> the allegations.\u003c/p>\n\u003cp>As Allen’s name began trending on Twitter, some wondered if he would face the same public criticism — and problems with canceled projects — that befell Bill Cosby as a growing number of women have accused the comic of drugging and sexually assaulting them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this suggests that Amazon’s deal with Allen may offer unique challenges that reach far beyond the difficulties of translating Allen’s idea into the new medium of streaming television. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Woody+Allen+Is+The+Latest+Hollywood+Star+Director+To+Try+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Internet Cartoons for Every Day of the Week",
"headTitle": "Internet Cartoons for Every Day of the Week | KQED",
"content": "\u003cp>If ever there was a compelling reason to wake up early on Saturdays, it was Saturday morning cartoons. But who watches television anymore? The crippling nostalgia this programming evokes is enough to make you enter into an ill-advised contractual agreement with a notorious cable company. But before you reach for the remote, take a moment to click through your burgeoning Internet options.\u003c/p>\n\u003cfigure id=\"attachment_10277604\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg\" alt=\"Bill & Ted's Excellent Cereal, 1990; courtesy billandted.org\" width=\"640\" height=\"856\" class=\"size-full wp-image-10277604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted-448x600.jpg 448w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill & Ted’s Excellent Cereal, 1990; courtesy billandted.org\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing beats cartoons and cereal,” says the online video streaming service, \u003ca href=\"http://www.hulu.com\" target=\"_blank\" rel=\"noopener\">Hulu\u003c/a>. Even without a subscription, users can browse a selection of free \u003ca href=\"http://www.hulu.com/search?q=Saturday+Morning+Cartoons\" target=\"_blank\" rel=\"noopener\">Saturday Morning Cartoons\u003c/a>, including classics like \u003ca href=\"http://www.hulu.com/felix-the-cat\" target=\"_blank\" rel=\"noopener\">\u003cem>Felix the Cat\u003c/em>\u003c/a>, or “by the power of Grayskull,” \u003ca href=\"http://www.hulu.com/he-man-and-the-masters-of-the-universe\" target=\"_blank\" rel=\"noopener\">\u003cem>He-Man\u003c/em>\u003c/a> and my personal favorite, \u003ca href=\"http://www.hulu.com/bill-and-teds-excellent-adventures\" target=\"_blank\" rel=\"noopener\">\u003cem>Bill and Ted’s Excellent [animated] Adventures\u003c/em>\u003c/a>. Too bad \u003ca href=\"http://www.billandted.org/merchandisefoodbtcereal.htm\" target=\"_blank\" rel=\"noopener\">Bill and Ted’s Excellent Cereal\u003c/a> has been discontinued.\u003c/p>\n\u003cp>But if you’re not willing to trade one monthly bill for another in order to watch Hulu’s entire catalog of cartoons, then keep clicking, because this is the Internet and there’s a lot of free stuff around these parts. In fact, an entire generation of cartoonists regularly create content exclusively for the web at no cost to their viewers.\u003c/p>\n\u003cp>If you are a fan of alternative cartoons, but would like to steer clear of the unsavory material that often pervades the Internet, \u003ca href=\"https://www.youtube.com/user/ChannelFrederator\" target=\"_blank\" rel=\"noopener\">Channel Frederator Network\u003c/a> on YouTube is a good place to start. Founded in 2005 by \u003ca href=\"http://en.wikipedia.org/wiki/Fred_Seibert\" target=\"_blank\" rel=\"noopener\">Fred Seibert\u003c/a>, \u003ca href=\"http://frederator.com/about/\" target=\"_blank\" rel=\"noopener\">Frederator Studios\u003c/a> has proven itself as “Cartoon Central on the Internet” by bringing together \u003ca href=\"http://www.channelfrederatornetwork.com/our-network/\" target=\"_blank\" rel=\"noopener\">thousands of independent artists\u003c/a> for hundreds of millions of viewers.\u003c/p>\n\u003cp>Through its partnership with YouTube and now \u003ca href=\"http://www.sonypicturesanimation.com\" target=\"-blank\" rel=\"noopener\">Sony Pictures Animation\u003c/a>, \u003ca href=\"http://www.channelfrederatornetwork.com\" target=\"_blank\" rel=\"noopener\">Channel Frederator Network\u003c/a> champions innovative animators and empowers them to keep doing what they love even as the industry changes. Internet-based animator, \u003ca href=\"https://www.youtube.com/user/SamGreenMedia\" target=\"_blank\" rel=\"noopener\">Sam Green\u003c/a> said, “[The Channel Frederator Network] has literally changed my life. They’ve allowed me to move out of my parents’ basement.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frederator not only carries on the legacy of irreverent Saturday Morning Cartoons but has also colonized most other days of the week in the name of animation as well, proclaiming Tuesday as \u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsKO027wfhBc2p0_0TtpDQwX\" target=\"_blank\" rel=\"noopener\">“ToonsDay!”\u003c/a> Now that Saturday morning cartoons are available any day of the week, you can “consume irresponsibly,” as Frederator’s \u003ca href=\"http://cartoonhangover.com\" target=\"_blank\" rel=\"noopener\">Cartoon Hangover\u003c/a> encourages you to do, every day. Here is a sample itinerary for a week-long cartoon binge:\u003c/p>\n\u003ch3>Monday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=CsGYh8AacgY\u003c/p>\n\u003cp>In 2005, \u003ca href=\"https://www.youtube.com/user/SecretAgentBob\" target=\"_blank\" rel=\"noopener\">Jason Steele\u003c/a> created a flash animation test called \u003cem>Charlie the Unicorn\u003c/em> for his mother, which went viral. You may feel a little bit like this curmudgeonly unicorn at the beginning of the week, but the trip to Candy Mountain will make you feel better about being a grump.\u003c/p>\n\u003ch3>Tuesday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=zF3RDvPlVYA\u003c/p>\n\u003cp>A great way to discover new talent, \u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsKO027wfhBc2p0_0TtpDQwX\" target=\"_blank\" rel=\"noopener\">“ToonsDay!”\u003c/a> on Channel Frederator spotlights one of the many gifted animators on the Channel Frederator Network every Tuesday. The “Spacetime Fabric Softener by Professor Soap” episode (above) from 2014 is one of my favorites.\u003c/p>\n\u003ch3>Wednesday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=5ArAFwo47VE\u003c/p>\n\u003cp>What would the Internet be without cats? \u003ca href=\"http://www.simonscat.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Simon’s Cat\u003c/em>\u003c/a> is this generation’s Garfield. In the video above, creator Simon Tofield, shows us how he draws his mischievous cat.\u003c/p>\n\u003ch3>Thursday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=Tq7IGCIcEg8\u003c/p>\n\u003cp>San Francisco-based artist, Levni Yilmaz, animates \u003ca href=\"https://www.youtube.com/user/AgentXPQ\" target=\"_blank\" rel=\"noopener\">\u003ci>Tales of Mere Existence\u003c/i>\u003c/a> by filming his drawing process on the back of vellum. He describes it as “confused comedy for confused people.”\u003c/p>\n\u003ch3>Friday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=XoKGhce5-08\u003c/p>\n\u003cp>Check out \u003ca href=\"https://www.youtube.com/channel/UCIA9jUDnKVMYc4SmqTxcwqg\" target=\"_blank\" rel=\"noopener\">\u003cem>Cartoon Hangover’s\u003c/em>\u003c/a> shorts, \u003ci>Too Cool! Cartoons\u003c/i>, which give up-and-coming animators a chance to share their best work in the hopes of having it spun off into syndicated series. Watch the \u003ca href=\"https://www.youtube.com/playlist?list=PL2DcNkn8HAwQLcXTiDB876bU13hT0OhsZ\" target=\"_blank\" rel=\"noopener\">\u003cem>Bee and PuppyCat\u003c/em>\u003c/a> short by Natasha Allegri, which recently got its own Internet series.\u003c/p>\n\u003ch3>Saturday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=GWfY4w_0ZpY\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsLkPO07j1Fj3iU3Fi5bCNDZ\" target=\"_blank\" rel=\"noopener\">Saturday Morning Cartoons\u003c/a> on Channel Frederator often feature shorts from three different animators, which is good because all that sugary cereal is probably giving you a short attention span.\u003c/p>\n\u003ch3>Sunday\u003c/h3>\n\u003cp>http://www.youtube.com/watch?v=lZzKAZODy2c\u003c/p>\n\u003cp>Influential animator \u003ca href=\"http://www.bitterfilms.com\" target=\"_blank\" rel=\"noopener\">Don Hertzfeldt\u003c/a> is originally from Fremont, CA. This clip introduced \u003ca href=\"http://en.wikipedia.org/wiki/The_Animation_Show\" target=\"_blank\" rel=\"noopener\">\u003cem>The Animation Show\u003c/em>\u003c/a> he and \u003ca href=\"http://en.wikipedia.org/wiki/Mike_Judge\" target=\"_blank\" rel=\"noopener\">Mike Judge\u003c/a> sponsored and explains some of his philosophies on animation. Even though Hertzfeld prefers to show his work in movie theaters, this is a good way to end any cartoon binge. Hertzfeldt’s short film, \u003cem>World of Tomorrow\u003c/em>, will premiere at this year’s Sundance Festival.\u003c/p>\n\u003cp>In the words of Hertzfeldt’s characters, “I hope we’ve all learned a little something about the fascinating world of animation today and can now think of it a little differently. An animated film is not just a random series of mindless, self-indulgent, violent cartoon images meant only to be enjoyed by young children or people with mental handicaps, but is a serious valid art medium all unto itself in which the artist is free to explore the purity of the film medium down to each and every single frame, the animated arts are –”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“ROBOTS!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If ever there was a compelling reason to wake up early on Saturdays, it was Saturday morning cartoons. But who watches television anymore? The crippling nostalgia this programming evokes is enough to make you enter into an ill-advised contractual agreement with a notorious cable company. But before you reach for the remote, take a moment to click through your burgeoning Internet options.\u003c/p>\n\u003cfigure id=\"attachment_10277604\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg\" alt=\"Bill & Ted's Excellent Cereal, 1990; courtesy billandted.org\" width=\"640\" height=\"856\" class=\"size-full wp-image-10277604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bill-Ted-448x600.jpg 448w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill & Ted’s Excellent Cereal, 1990; courtesy billandted.org\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing beats cartoons and cereal,” says the online video streaming service, \u003ca href=\"http://www.hulu.com\" target=\"_blank\" rel=\"noopener\">Hulu\u003c/a>. Even without a subscription, users can browse a selection of free \u003ca href=\"http://www.hulu.com/search?q=Saturday+Morning+Cartoons\" target=\"_blank\" rel=\"noopener\">Saturday Morning Cartoons\u003c/a>, including classics like \u003ca href=\"http://www.hulu.com/felix-the-cat\" target=\"_blank\" rel=\"noopener\">\u003cem>Felix the Cat\u003c/em>\u003c/a>, or “by the power of Grayskull,” \u003ca href=\"http://www.hulu.com/he-man-and-the-masters-of-the-universe\" target=\"_blank\" rel=\"noopener\">\u003cem>He-Man\u003c/em>\u003c/a> and my personal favorite, \u003ca href=\"http://www.hulu.com/bill-and-teds-excellent-adventures\" target=\"_blank\" rel=\"noopener\">\u003cem>Bill and Ted’s Excellent [animated] Adventures\u003c/em>\u003c/a>. Too bad \u003ca href=\"http://www.billandted.org/merchandisefoodbtcereal.htm\" target=\"_blank\" rel=\"noopener\">Bill and Ted’s Excellent Cereal\u003c/a> has been discontinued.\u003c/p>\n\u003cp>But if you’re not willing to trade one monthly bill for another in order to watch Hulu’s entire catalog of cartoons, then keep clicking, because this is the Internet and there’s a lot of free stuff around these parts. In fact, an entire generation of cartoonists regularly create content exclusively for the web at no cost to their viewers.\u003c/p>\n\u003cp>If you are a fan of alternative cartoons, but would like to steer clear of the unsavory material that often pervades the Internet, \u003ca href=\"https://www.youtube.com/user/ChannelFrederator\" target=\"_blank\" rel=\"noopener\">Channel Frederator Network\u003c/a> on YouTube is a good place to start. Founded in 2005 by \u003ca href=\"http://en.wikipedia.org/wiki/Fred_Seibert\" target=\"_blank\" rel=\"noopener\">Fred Seibert\u003c/a>, \u003ca href=\"http://frederator.com/about/\" target=\"_blank\" rel=\"noopener\">Frederator Studios\u003c/a> has proven itself as “Cartoon Central on the Internet” by bringing together \u003ca href=\"http://www.channelfrederatornetwork.com/our-network/\" target=\"_blank\" rel=\"noopener\">thousands of independent artists\u003c/a> for hundreds of millions of viewers.\u003c/p>\n\u003cp>Through its partnership with YouTube and now \u003ca href=\"http://www.sonypicturesanimation.com\" target=\"-blank\" rel=\"noopener\">Sony Pictures Animation\u003c/a>, \u003ca href=\"http://www.channelfrederatornetwork.com\" target=\"_blank\" rel=\"noopener\">Channel Frederator Network\u003c/a> champions innovative animators and empowers them to keep doing what they love even as the industry changes. Internet-based animator, \u003ca href=\"https://www.youtube.com/user/SamGreenMedia\" target=\"_blank\" rel=\"noopener\">Sam Green\u003c/a> said, “[The Channel Frederator Network] has literally changed my life. They’ve allowed me to move out of my parents’ basement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frederator not only carries on the legacy of irreverent Saturday Morning Cartoons but has also colonized most other days of the week in the name of animation as well, proclaiming Tuesday as \u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsKO027wfhBc2p0_0TtpDQwX\" target=\"_blank\" rel=\"noopener\">“ToonsDay!”\u003c/a> Now that Saturday morning cartoons are available any day of the week, you can “consume irresponsibly,” as Frederator’s \u003ca href=\"http://cartoonhangover.com\" target=\"_blank\" rel=\"noopener\">Cartoon Hangover\u003c/a> encourages you to do, every day. Here is a sample itinerary for a week-long cartoon binge:\u003c/p>\n\u003ch3>Monday\u003c/h3>\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/CsGYh8AacgY'\n title='//www.youtube.com/embed/CsGYh8AacgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2005, \u003ca href=\"https://www.youtube.com/user/SecretAgentBob\" target=\"_blank\" rel=\"noopener\">Jason Steele\u003c/a> created a flash animation test called \u003cem>Charlie the Unicorn\u003c/em> for his mother, which went viral. You may feel a little bit like this curmudgeonly unicorn at the beginning of the week, but the trip to Candy Mountain will make you feel better about being a grump.\u003c/p>\n\u003ch3>Tuesday\u003c/h3>\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/zF3RDvPlVYA'\n title='//www.youtube.com/embed/zF3RDvPlVYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A great way to discover new talent, \u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsKO027wfhBc2p0_0TtpDQwX\" target=\"_blank\" rel=\"noopener\">“ToonsDay!”\u003c/a> on Channel Frederator spotlights one of the many gifted animators on the Channel Frederator Network every Tuesday. The “Spacetime Fabric Softener by Professor Soap” episode (above) from 2014 is one of my favorites.\u003c/p>\n\u003ch3>Wednesday\u003c/h3>\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/5ArAFwo47VE'\n title='//www.youtube.com/embed/5ArAFwo47VE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What would the Internet be without cats? \u003ca href=\"http://www.simonscat.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Simon’s Cat\u003c/em>\u003c/a> is this generation’s Garfield. In the video above, creator Simon Tofield, shows us how he draws his mischievous cat.\u003c/p>\n\u003ch3>Thursday\u003c/h3>\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/Tq7IGCIcEg8'\n title='//www.youtube.com/embed/Tq7IGCIcEg8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco-based artist, Levni Yilmaz, animates \u003ca href=\"https://www.youtube.com/user/AgentXPQ\" target=\"_blank\" rel=\"noopener\">\u003ci>Tales of Mere Existence\u003c/i>\u003c/a> by filming his drawing process on the back of vellum. He describes it as “confused comedy for confused people.”\u003c/p>\n\u003ch3>Friday\u003c/h3>\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/XoKGhce5-08'\n title='//www.youtube.com/embed/XoKGhce5-08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Check out \u003ca href=\"https://www.youtube.com/channel/UCIA9jUDnKVMYc4SmqTxcwqg\" target=\"_blank\" rel=\"noopener\">\u003cem>Cartoon Hangover’s\u003c/em>\u003c/a> shorts, \u003ci>Too Cool! Cartoons\u003c/i>, which give up-and-coming animators a chance to share their best work in the hopes of having it spun off into syndicated series. Watch the \u003ca href=\"https://www.youtube.com/playlist?list=PL2DcNkn8HAwQLcXTiDB876bU13hT0OhsZ\" target=\"_blank\" rel=\"noopener\">\u003cem>Bee and PuppyCat\u003c/em>\u003c/a> short by Natasha Allegri, which recently got its own Internet series.\u003c/p>\n\u003ch3>Saturday\u003c/h3>\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/GWfY4w_0ZpY'\n title='//www.youtube.com/embed/GWfY4w_0ZpY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/playlist?list=PLsvYuSgEtSsLkPO07j1Fj3iU3Fi5bCNDZ\" target=\"_blank\" rel=\"noopener\">Saturday Morning Cartoons\u003c/a> on Channel Frederator often feature shorts from three different animators, which is good because all that sugary cereal is probably giving you a short attention span.\u003c/p>\n\u003ch3>Sunday\u003c/h3>\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/lZzKAZODy2c'\n title='//www.youtube.com/embed/lZzKAZODy2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Influential animator \u003ca href=\"http://www.bitterfilms.com\" target=\"_blank\" rel=\"noopener\">Don Hertzfeldt\u003c/a> is originally from Fremont, CA. This clip introduced \u003ca href=\"http://en.wikipedia.org/wiki/The_Animation_Show\" target=\"_blank\" rel=\"noopener\">\u003cem>The Animation Show\u003c/em>\u003c/a> he and \u003ca href=\"http://en.wikipedia.org/wiki/Mike_Judge\" target=\"_blank\" rel=\"noopener\">Mike Judge\u003c/a> sponsored and explains some of his philosophies on animation. Even though Hertzfeld prefers to show his work in movie theaters, this is a good way to end any cartoon binge. Hertzfeldt’s short film, \u003cem>World of Tomorrow\u003c/em>, will premiere at this year’s Sundance Festival.\u003c/p>\n\u003cp>In the words of Hertzfeldt’s characters, “I hope we’ve all learned a little something about the fascinating world of animation today and can now think of it a little differently. An animated film is not just a random series of mindless, self-indulgent, violent cartoon images meant only to be enjoyed by young children or people with mental handicaps, but is a serious valid art medium all unto itself in which the artist is free to explore the purity of the film medium down to each and every single frame, the animated arts are –”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“ROBOTS!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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