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"content": "\u003cp>Oh, sure. Reminisce all you want about the best dressed, the most influential, the most important events in 2013, but will that \u003ci>really\u003c/i> tell you about what happened this year? WILL IT? What about all those moments that hit the middle note, the ones we shrugged away, the ones \u003ci>others\u003c/i> shrugged away? You know, those moments that made you say, “Meh.” Don’t these moments provide a more eloquent vision of 2013? I think so.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/orange-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>10. \u003ci>Orange Is the New Black\u003c/i>, the Real Story\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>In case you were under a rock, Piper, a Smith grad and middle class white woman, goes to prison for a drug offense committed in her youth. 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(Though there was \u003ca href=\"http://www.businessinsider.com/orange-is-the-new-blacks-piper-kerman-on-seeing-her-ex-2013-8\">a brief encounter\u003c/a> when the two were called to testify in a drug conspiracy trial.)\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/putin-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>9. That Time When Nothing Happened at the G20 Summit\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>The foremost issue at the G20 Summit was the civil war in Syria — and we all know how that turned out. Nothing really came out of this meeting of the minds, except President Obama did \u003ca href=\"http://www.newyorker.com/online/blogs/borowitzreport/2013/09/g20-ends-abruptly-as-obama-calls-putin-a-jackass.html\">call\u003c/a> Mr. Putin a ‘jackass.’ “I should be afraid of this skinny man?” retorted Mr. Putin. “I wrestle bears.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meatballs-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>8. IKEA: the Waning Love Story\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Maybe it’s just because my futon fell apart, but for any of you that were on the fence about IKEA, this year \u003ca href=\"http://www.brandindex.com/article/global-issues-impact-ikea-us\">provided a deal-breaker\u003c/a>: the ever-popular Meatballs sold at the IKEA food court were found to have traces of horse meat. Why, Ikea, why?\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/facebook-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>7. Facebook Fatigue\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Two studies and all my friends seem to point to an impending mass exodus from the social media giant. While 61% of users regularly \u003ca href=\"http://www.pewinternet.org/Reports/2013/Coming-and-going-on-facebook/Key-Findings.aspx\">take self-imposed Facebook vacations\u003c/a>, teens have started to \u003ca href=\"http://www.pewinternet.org/~/media//Files/Reports/2013/PIP_TeensSocialMediaandPrivacy.pdf\">lose interest\u003c/a> — mainly because there are too many adults creeping the site. All those with Facebook fatigue remember to share about it on Facebook! Hashtag: conflicted.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bezos-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>6. Man Who Helped Steamroll Print Media Buys \u003ci>Washington Post\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>For a man who never seemed to \u003ca href=\"http://www.businessinsider.com/amazon-accused-of-raising-prices-2013-7\">care about the state of print\u003c/a>, Jeff Bezos’ buy-out doesn’t make sense. Here are \u003ca href=\"http://www.businessweek.com/articles/2013-08-08/why-jeff-bezos-bought-the-em-washington-post-em\">three totally-legit reasons\u003c/a> why Bezos is the right guy to head the Post (according to \u003ci>Business Week\u003c/i>): Instead of using Powerpoint in meetings, Bezos urges people to pass print-outs of summaries (this guy obviously loves the printed page!). His annual letters to shareholders are widely read (he’s obviously an accomplished writer!). Finally, when his editorial business failed he came to the conclusion that computers, not people, were better at recommending products that customers wanted to buy (he won’t replace writers with robots, no, really!). Is this the attack of a total nihilist on the world of print? Only time will tell. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rowling-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>5. JK Rowling Writes a Serious Adult Book Under Pseudonym and It Bombs\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>With only 1500 sales before the big reveal, \u003ci>The Cuckoo’s Calling\u003c/i> was just a crime novel \u003ca href=\"http://www.publishersweekly.com/978-0-316-20684-6\">liked by some\u003c/a> and disliked by others. It had some praise, then it was over. That’s when the \u003ci>Sunday Times\u003c/i> of London \u003ca href=\"http://www.thetimes.co.uk/tto/arts/books/article3816183.ece\">received an anonymous tip\u003c/a> that the real author was not Robert Gallbraith (wasn’t this a Harry Potter character?) but JK Rowling. Sales skyrocketed.\u003ca href=\"http://www.npr.org/2013/07/18/202732292/the-only-surprise-in-rowlings-cuckoos-calling-is-the-author\">Read the best review\u003c/a> around by NPR’s Maureen Carrigan, aptly titled, “The Only Surprise In Rowling’s ‘Cuckoo’s Calling’ Is The Author.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vogue-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>4. \u003ci>Vogue\u003c/i> Allotted 12 Pages to Models Wearing Google Glass and Still No One Wants to Wear Them\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>In an apparent effort to put some vamp in the awkward device, \u003ci>Vogue\u003c/i> did a twelve-page spread of taffeta-clad models in all kinds of futuristic scenarios wearing Google Glass (\u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/2\">they moodily regarded Mars-like landscapes!\u003c/a> \u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/4\">investigated spatial murder!\u003c/a> \u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/6\">got in cat fights for men — in space!\u003c/a>) but \u003ca href=\"http://www.biteinteractive.com/blog/google-glass-adoption-forecast\">one study found\u003c/a> that 38% of smartphone users would not buy Google Glass even if it was priced in their budget, 44% do not find the device appealing, and nearly 45% think it’s socially awkward. Nice try, \u003ci>Vogue\u003c/i>. Nice try.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/missusa-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>3. Miss USA Wears a Transformers Get-up and Nobody Likes It\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>This is the closest to conceptual art that the Miss Universe pageant will ever get. Too bad it got Miss USA nowhere. As many of her Instagram followers \u003ca href=\"http://instagram.com/p/gRC49-g_4t/\">pointed out\u003c/a>, Transformers are actually a Japanese import.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/asteroid-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>2. Russians Fail to React to a METEOR\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Russian drivers captured dramatic video of the meteor cutting across the horizon via their car dashboard-cameras, while many were surprisingly underwhelmed by the spectacle.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/bU37Od9XJRI\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jimmycliff-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>1. Economy, Shmonomy: Republicans and the Debt Ceiling\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>The Fiscal Cliff. Sequestration. The House Republicans. A sign of how unpopular Congress was this year? A \u003ca href=\"http://www.publicpolicypolling.com/main/2013/01/congress-less-popular-than-cockroaches-traffic-jams.html\">poll of American voters revealed\u003c/a> that the following were held in higher esteem than the 113th U.S. Congress: root canals, Nickelback, cockroaches, colonoscopies, traffic jams, and lice. Congress edged out Lindsay Lohan by a slight 4%, and won decisively against the Kardashians! Go Congress!\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Ten fair to middling events that were decidedly not earth shattering. Not too great. Not too bad. Just OK. No big deal.",
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"title": "The Year in 'Meh': When 2013 Was Just OK | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, sure. Reminisce all you want about the best dressed, the most influential, the most important events in 2013, but will that \u003ci>really\u003c/i> tell you about what happened this year? WILL IT? What about all those moments that hit the middle note, the ones we shrugged away, the ones \u003ci>others\u003c/i> shrugged away? You know, those moments that made you say, “Meh.” Don’t these moments provide a more eloquent vision of 2013? I think so.\u003c/p>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/orange-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>10. \u003ci>Orange Is the New Black\u003c/i>, the Real Story\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>In case you were under a rock, Piper, a Smith grad and middle class white woman, goes to prison for a drug offense committed in her youth. Compared to the high drama and picturesque depiction of \u003ca href=\"http://movies.netflix.com/WiMovie/70242311?fcld=true&movieid=70242311\">the Netflix series\u003c/a>, the real story pales by comparison. The biggest disappointment? In the real story Piper does not do time with her ex, the drug-dealing convict who turned her in. (Though there was \u003ca href=\"http://www.businessinsider.com/orange-is-the-new-blacks-piper-kerman-on-seeing-her-ex-2013-8\">a brief encounter\u003c/a> when the two were called to testify in a drug conspiracy trial.)\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/putin-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>9. That Time When Nothing Happened at the G20 Summit\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>The foremost issue at the G20 Summit was the civil war in Syria — and we all know how that turned out. Nothing really came out of this meeting of the minds, except President Obama did \u003ca href=\"http://www.newyorker.com/online/blogs/borowitzreport/2013/09/g20-ends-abruptly-as-obama-calls-putin-a-jackass.html\">call\u003c/a> Mr. Putin a ‘jackass.’ “I should be afraid of this skinny man?” retorted Mr. Putin. “I wrestle bears.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/meatballs-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>8. IKEA: the Waning Love Story\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Maybe it’s just because my futon fell apart, but for any of you that were on the fence about IKEA, this year \u003ca href=\"http://www.brandindex.com/article/global-issues-impact-ikea-us\">provided a deal-breaker\u003c/a>: the ever-popular Meatballs sold at the IKEA food court were found to have traces of horse meat. Why, Ikea, why?\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/facebook-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>7. Facebook Fatigue\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Two studies and all my friends seem to point to an impending mass exodus from the social media giant. While 61% of users regularly \u003ca href=\"http://www.pewinternet.org/Reports/2013/Coming-and-going-on-facebook/Key-Findings.aspx\">take self-imposed Facebook vacations\u003c/a>, teens have started to \u003ca href=\"http://www.pewinternet.org/~/media//Files/Reports/2013/PIP_TeensSocialMediaandPrivacy.pdf\">lose interest\u003c/a> — mainly because there are too many adults creeping the site. All those with Facebook fatigue remember to share about it on Facebook! Hashtag: conflicted.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bezos-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>6. Man Who Helped Steamroll Print Media Buys \u003ci>Washington Post\u003c/i>\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>For a man who never seemed to \u003ca href=\"http://www.businessinsider.com/amazon-accused-of-raising-prices-2013-7\">care about the state of print\u003c/a>, Jeff Bezos’ buy-out doesn’t make sense. Here are \u003ca href=\"http://www.businessweek.com/articles/2013-08-08/why-jeff-bezos-bought-the-em-washington-post-em\">three totally-legit reasons\u003c/a> why Bezos is the right guy to head the Post (according to \u003ci>Business Week\u003c/i>): Instead of using Powerpoint in meetings, Bezos urges people to pass print-outs of summaries (this guy obviously loves the printed page!). His annual letters to shareholders are widely read (he’s obviously an accomplished writer!). Finally, when his editorial business failed he came to the conclusion that computers, not people, were better at recommending products that customers wanted to buy (he won’t replace writers with robots, no, really!). Is this the attack of a total nihilist on the world of print? Only time will tell. \u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/rowling-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>5. JK Rowling Writes a Serious Adult Book Under Pseudonym and It Bombs\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>With only 1500 sales before the big reveal, \u003ci>The Cuckoo’s Calling\u003c/i> was just a crime novel \u003ca href=\"http://www.publishersweekly.com/978-0-316-20684-6\">liked by some\u003c/a> and disliked by others. It had some praise, then it was over. That’s when the \u003ci>Sunday Times\u003c/i> of London \u003ca href=\"http://www.thetimes.co.uk/tto/arts/books/article3816183.ece\">received an anonymous tip\u003c/a> that the real author was not Robert Gallbraith (wasn’t this a Harry Potter character?) but JK Rowling. Sales skyrocketed.\u003ca href=\"http://www.npr.org/2013/07/18/202732292/the-only-surprise-in-rowlings-cuckoos-calling-is-the-author\">Read the best review\u003c/a> around by NPR’s Maureen Carrigan, aptly titled, “The Only Surprise In Rowling’s ‘Cuckoo’s Calling’ Is The Author.”\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/vogue-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>4. \u003ci>Vogue\u003c/i> Allotted 12 Pages to Models Wearing Google Glass and Still No One Wants to Wear Them\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>In an apparent effort to put some vamp in the awkward device, \u003ci>Vogue\u003c/i> did a twelve-page spread of taffeta-clad models in all kinds of futuristic scenarios wearing Google Glass (\u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/2\">they moodily regarded Mars-like landscapes!\u003c/a> \u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/4\">investigated spatial murder!\u003c/a> \u003ca href=\"http://www.vogue.com/magazine/article/the-final-frontier-google-glass-and-futuristic-fashion/#/magazine-gallery/the-final-frontier/6\">got in cat fights for men — in space!\u003c/a>) but \u003ca href=\"http://www.biteinteractive.com/blog/google-glass-adoption-forecast\">one study found\u003c/a> that 38% of smartphone users would not buy Google Glass even if it was priced in their budget, 44% do not find the device appealing, and nearly 45% think it’s socially awkward. Nice try, \u003ci>Vogue\u003c/i>. Nice try.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/missusa-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>3. Miss USA Wears a Transformers Get-up and Nobody Likes It\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>This is the closest to conceptual art that the Miss Universe pageant will ever get. Too bad it got Miss USA nowhere. As many of her Instagram followers \u003ca href=\"http://instagram.com/p/gRC49-g_4t/\">pointed out\u003c/a>, Transformers are actually a Japanese import.\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/asteroid-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>2. Russians Fail to React to a METEOR\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>Russian drivers captured dramatic video of the meteor cutting across the horizon via their car dashboard-cameras, while many were surprisingly underwhelmed by the spectacle.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/bU37Od9XJRI\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cdiv class=\"features-list\">\u003c!-- features-list -->\u003c!-- image -->\t \n\u003cdiv class=\"features-list-pic-left\">\u003c!-- features-list-pic-left -->\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/jimmycliff-400.jpg\" width=\"98\" alt=\"\" style=\"margin-bottom: 10px;\"> \u003c/div>\n\u003cp>\u003c!-- features-list-pic-left --> \u003c!-- title -->\u003c/p>\n\u003ch5>1. Economy, Shmonomy: Republicans and the Debt Ceiling\u003c/h5>\n\u003cp>\u003c!-- short description -->\u003c/p>\n\u003cp>The Fiscal Cliff. Sequestration. The House Republicans. A sign of how unpopular Congress was this year? A \u003ca href=\"http://www.publicpolicypolling.com/main/2013/01/congress-less-popular-than-cockroaches-traffic-jams.html\">poll of American voters revealed\u003c/a> that the following were held in higher esteem than the 113th U.S. Congress: root canals, Nickelback, cockroaches, colonoscopies, traffic jams, and lice. Congress edged out Lindsay Lohan by a slight 4%, and won decisively against the Kardashians! Go Congress!\u003c/p>\n\u003c/div>\n\u003cp>\u003c!-- /features-list -->\u003c/p>\n\u003cdiv class=\"clearfix10\">\u003c!-- -->\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you think you can beat the holiday shopping rush by turning to the Internet, think again. What Internet shopping lacks in sensory overload it gains in infinite scroll. Inundated with incessant feeds of information, sifting through even your favorite websites can prove overwhelming. This holiday season navigate the seemingly endless supply by curating your shopping experience with \u003ca href=\"http://www.svpply.com\">Svpply.com\u003c/a>, which “helps you find the products you love, from the people and stores you find interesting.”\u003c/p>\n\u003cp>Warning: while this website may save you the trouble of deciding what to buy, it will also give you the tools of an Internet tastemaker, which is altogether too satisfying, and ultimately, extremely time consuming.\u003c/p>\n\u003cp>If you ever cut up catalogues and pasted together wish lists as a kid or if you’re the kind of Internet user who looks at Tumblr and Pinterest and thinks, “Yeah, this is cool and everything, but where can I buy this stuff?” then Svpply is for you. Members bookmark their favorite items from all over the Internet; creating a profile that displays the products they want, which they can organize into “collections,” (i.e. “Holiday Wish List” or “Gift Ideas”).\u003c/p>\n\u003cp>According to Svpply, each of the over 3 million products in their “shop” has been hand selected by one of their members, and brought to their site using Svpply’s “bookmarklet.” This “Buy Later” browser button is easy to install in your bookmarks bar. Clicking it while browsing various websites allows you to add items to your own profile and ultimately the Svpply registry at large. Sadly, there are more pictures of products on the Internet than there are actual products and Svpply does not account for the stock of the items featured on its website. So don’t forget to click the “buy” button so you can visit the original website and snag the product before some other shopper does, lest you forget the desperate \u003ca href=\"http://content.time.com/time/specials/packages/article/0,28804,1947621_1947626_1947641,00.html\">Tickle Me Elmo\u003c/a> rush of 1996.\u003c/p>\n\u003cp>Svpply users harness the power of crowd sourcing by following the feeds of other Svpply shoppers. If you’re not into rolling up your sleeves and scouring the nooks and crannies of the Internet yourself, then let someone else harvest the cream of the crop for you. Updated every ten minutes, Svpply estimates that it brings in over 3,000 products a day from all across the web thanks to user participation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using Svpply for the first time is much like going shopping with a stylish friend; they understand your tastes better than you do and walk around the store saying, “Hey, I think you’d really like this.” Except instead of a single store, it’s the entire Internet and instead of just one friend it is anyone whose swag you admire, whether you know them in real life or not.\u003c/p>\n\u003cp>With a sleek design that makes the products center stage, the interface appeals to designers and visual Millennials; two demographics that usually have a strong grasp of the latest trends. So if you’re looking for that perfect something for the picky hipster in your family, Svpply’s \u003ca href=\"https://svpply.com/shop?sort=popular\">“trending products,”\u003c/a> (e.g. \u003ca href=\"https://svpply.com/item/1438263/I_Like_Cats_Sweatshirt_PINK_ON\">a sweatshirt\u003c/a> that says, “I like cats”) is your best bet.\u003c/p>\n\u003cp>Still doubtful? The all-time most popular product on Svpply, with nearly 6,000 “wants” is $12 \u003ca href=\"https://svpply.com/item/960202/Starry_String_Lights\">starry string lights\u003c/a> from Restoration Hardware. And who wouldn’t love some festive lights for the holiday season? Search for other items according to your price range, categories like “apparel” or “tech” and keywords like “blue” or “vintage.” While using Svpply guarantees some delightfully obscure finds, it doesn’t mean you have to miss out on popular brands or your favorite shops either. The site unofficially represents over 100,000 stores and brands, which means you can also follow a large shop like Etsy, knowing that you are going to see products other Svpply users have deemed worthy.\u003c/p>\n\u003cp>It’s even possible to shop locally and forgo shipping costs by narrowing your search to stores in a city near you. San Francisco, for example, has been divided into subsections including the Castro, Mission, Marina and Chinatown districts, so you can plan a strategic day of analog shopping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Resistance is futile when it comes to the stresses of holiday shopping, but logging on to Svpply.com today can provide some relief while fostering an addiction. Buy yourself some starry lights and remember the joy of crafting the ultimate wish list — just remember to do some shopping for your friends and family as well.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you think you can beat the holiday shopping rush by turning to the Internet, think again. What Internet shopping lacks in sensory overload it gains in infinite scroll. Inundated with incessant feeds of information, sifting through even your favorite websites can prove overwhelming. This holiday season navigate the seemingly endless supply by curating your shopping experience with \u003ca href=\"http://www.svpply.com\">Svpply.com\u003c/a>, which “helps you find the products you love, from the people and stores you find interesting.”\u003c/p>\n\u003cp>Warning: while this website may save you the trouble of deciding what to buy, it will also give you the tools of an Internet tastemaker, which is altogether too satisfying, and ultimately, extremely time consuming.\u003c/p>\n\u003cp>If you ever cut up catalogues and pasted together wish lists as a kid or if you’re the kind of Internet user who looks at Tumblr and Pinterest and thinks, “Yeah, this is cool and everything, but where can I buy this stuff?” then Svpply is for you. Members bookmark their favorite items from all over the Internet; creating a profile that displays the products they want, which they can organize into “collections,” (i.e. “Holiday Wish List” or “Gift Ideas”).\u003c/p>\n\u003cp>According to Svpply, each of the over 3 million products in their “shop” has been hand selected by one of their members, and brought to their site using Svpply’s “bookmarklet.” This “Buy Later” browser button is easy to install in your bookmarks bar. Clicking it while browsing various websites allows you to add items to your own profile and ultimately the Svpply registry at large. Sadly, there are more pictures of products on the Internet than there are actual products and Svpply does not account for the stock of the items featured on its website. So don’t forget to click the “buy” button so you can visit the original website and snag the product before some other shopper does, lest you forget the desperate \u003ca href=\"http://content.time.com/time/specials/packages/article/0,28804,1947621_1947626_1947641,00.html\">Tickle Me Elmo\u003c/a> rush of 1996.\u003c/p>\n\u003cp>Svpply users harness the power of crowd sourcing by following the feeds of other Svpply shoppers. If you’re not into rolling up your sleeves and scouring the nooks and crannies of the Internet yourself, then let someone else harvest the cream of the crop for you. Updated every ten minutes, Svpply estimates that it brings in over 3,000 products a day from all across the web thanks to user participation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using Svpply for the first time is much like going shopping with a stylish friend; they understand your tastes better than you do and walk around the store saying, “Hey, I think you’d really like this.” Except instead of a single store, it’s the entire Internet and instead of just one friend it is anyone whose swag you admire, whether you know them in real life or not.\u003c/p>\n\u003cp>With a sleek design that makes the products center stage, the interface appeals to designers and visual Millennials; two demographics that usually have a strong grasp of the latest trends. So if you’re looking for that perfect something for the picky hipster in your family, Svpply’s \u003ca href=\"https://svpply.com/shop?sort=popular\">“trending products,”\u003c/a> (e.g. \u003ca href=\"https://svpply.com/item/1438263/I_Like_Cats_Sweatshirt_PINK_ON\">a sweatshirt\u003c/a> that says, “I like cats”) is your best bet.\u003c/p>\n\u003cp>Still doubtful? The all-time most popular product on Svpply, with nearly 6,000 “wants” is $12 \u003ca href=\"https://svpply.com/item/960202/Starry_String_Lights\">starry string lights\u003c/a> from Restoration Hardware. And who wouldn’t love some festive lights for the holiday season? Search for other items according to your price range, categories like “apparel” or “tech” and keywords like “blue” or “vintage.” While using Svpply guarantees some delightfully obscure finds, it doesn’t mean you have to miss out on popular brands or your favorite shops either. The site unofficially represents over 100,000 stores and brands, which means you can also follow a large shop like Etsy, knowing that you are going to see products other Svpply users have deemed worthy.\u003c/p>\n\u003cp>It’s even possible to shop locally and forgo shipping costs by narrowing your search to stores in a city near you. San Francisco, for example, has been divided into subsections including the Castro, Mission, Marina and Chinatown districts, so you can plan a strategic day of analog shopping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Resistance is futile when it comes to the stresses of holiday shopping, but logging on to Svpply.com today can provide some relief while fostering an addiction. Buy yourself some starry lights and remember the joy of crafting the ultimate wish list — just remember to do some shopping for your friends and family as well.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Delicacy of Stress: Blood of the Werewolf",
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"content": "\u003cp>\u003ci>Blood of the Werewolf\u003c/i>, a great new indie game, was released last week on Steam. The opening cinematics, motion book-style animation — like flat comic book pages come to life — set the stage for an intriguing story of Romani-esque racial persecution. A woman, whose people turn to wolves at night, is out for vengeance after humans hunt every last one of them down, finally killing her husband and stealing their only child.\u003c/p>\n\u003cp>You play as Selena, the mother and main character in this point and shoot sidescrolling platformer. She tromps through sewers and factories reminiscent of the original Ninja Turtles games, neon green slime and all. You fight old-school baddies like fireball tossing fish monsters and even a few sasquatch; the bosses are the big monsters of childhood gaming, barfing projectiles, beaten by learning their patterns. This is classic gaming, but with new twists and a rich art style that is gorgeously retro, even using old, blobby monster movie lettering for its title screens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/D2zFFHGDPus\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One gameplay twist centers around the mechanism of werewolf myth. Traditionally werewolves only transform during the full moon and against their will. In the game, Selena is human indoors, but transforms under the light of the moon. This activates two sets of controls for the character, one precise (when human), the other more powerful and brutish (when wolf), forcing the player to switch styles before either starts to feel completely familiar. Unfortunately the controls for both the human and werewolf forms take a bit of getting used to — at least when playing with a controller — and the awkward human jump-aim combinations and wolf double-jump mechanism could use some fine tuning.\u003c/p>\n\u003cp>\u003ci>Blood of the Werewolf\u003c/i> is not for the faint of heart. There is a particular feeling that old frustration platformers like \u003ci>Super Mario\u003c/i> used to evoke, which is lost in most modern games. Back then you had to repeat a level, dying over and over until you learned the muscle memory to complete it in one go. It was unbelievably stressful and this game has a tinge of that feeling without making you completely insane. They don’t limit your lives and only make you go back a short way when you die, but they are absolutely referencing that frustration for both nostalgia and cred. However, the bubble of cartoon blood that arises when you get squashed to death, followed by a zombie hand rising from the grave to mark the start of a new life, does help with the sting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a finely tuned delicacy of stress. Before you scoff, \u003ca href=\"http://newscenter.berkeley.edu/2013/04/16/researchers-find-out-why-some-stress-is-good-for-you/\">researchers at UC Berkeley have shown\u003c/a> that acute stress, like the kind you get from short-term fear or frustration, actually improves cognitive performance. It’s a bit like loving \u003ci>Breaking Bad\u003c/i>, periods of good stress are broken up with deep breaths and gratitude for checkpoints.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/bloodofthewerewolf1.jpg\" style=\"margin-bottom: 10px;\" alt=\"blood of the werewolf\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/bloodofthewerewolf2.jpg\" style=\"margin-bottom: 10px;\" alt=\"blood of the werewolf\">\u003c/center>\n\u003cp>The game is great on its own, but it should also be noted that it’s not often you come across powerful female leads in games, much less play a grieving mother. As \u003ca href=\"http://www.youtube.com/user/feministfrequency\">Feminist Frequency\u003c/a>, a YouTube channel focused on parsing the complex subject of women in video games, has discussed, women in games are often the victims of kidnapping, becoming the central goal and motivating force behind the hero’s perilous adventure. The rescue of wives, daughters, and princesses is by far the most oft-repeated trope in games to this day. \u003ci>Blood of the Werewolf\u003c/i> gets points for a strong story out of the gate and for inverting entrenched gender roles, but this game is still centered around a kidnapping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you are in the mood for great monsters, good story, and a dose of brain food stress, \u003ci>Blood of the Werewolf\u003c/i> is a great place to start. For \u003ca href=\"http://www.bloodofthewerewolf.com/\">more information\u003c/a> visit bloodofthewerewolf.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Blood of the Werewolf\u003c/i>, a great new indie game, was released last week on Steam. The opening cinematics, motion book-style animation — like flat comic book pages come to life — set the stage for an intriguing story of Romani-esque racial persecution. A woman, whose people turn to wolves at night, is out for vengeance after humans hunt every last one of them down, finally killing her husband and stealing their only child.\u003c/p>\n\u003cp>You play as Selena, the mother and main character in this point and shoot sidescrolling platformer. She tromps through sewers and factories reminiscent of the original Ninja Turtles games, neon green slime and all. You fight old-school baddies like fireball tossing fish monsters and even a few sasquatch; the bosses are the big monsters of childhood gaming, barfing projectiles, beaten by learning their patterns. This is classic gaming, but with new twists and a rich art style that is gorgeously retro, even using old, blobby monster movie lettering for its title screens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/D2zFFHGDPus\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>One gameplay twist centers around the mechanism of werewolf myth. Traditionally werewolves only transform during the full moon and against their will. In the game, Selena is human indoors, but transforms under the light of the moon. This activates two sets of controls for the character, one precise (when human), the other more powerful and brutish (when wolf), forcing the player to switch styles before either starts to feel completely familiar. Unfortunately the controls for both the human and werewolf forms take a bit of getting used to — at least when playing with a controller — and the awkward human jump-aim combinations and wolf double-jump mechanism could use some fine tuning.\u003c/p>\n\u003cp>\u003ci>Blood of the Werewolf\u003c/i> is not for the faint of heart. There is a particular feeling that old frustration platformers like \u003ci>Super Mario\u003c/i> used to evoke, which is lost in most modern games. Back then you had to repeat a level, dying over and over until you learned the muscle memory to complete it in one go. It was unbelievably stressful and this game has a tinge of that feeling without making you completely insane. They don’t limit your lives and only make you go back a short way when you die, but they are absolutely referencing that frustration for both nostalgia and cred. However, the bubble of cartoon blood that arises when you get squashed to death, followed by a zombie hand rising from the grave to mark the start of a new life, does help with the sting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a finely tuned delicacy of stress. Before you scoff, \u003ca href=\"http://newscenter.berkeley.edu/2013/04/16/researchers-find-out-why-some-stress-is-good-for-you/\">researchers at UC Berkeley have shown\u003c/a> that acute stress, like the kind you get from short-term fear or frustration, actually improves cognitive performance. It’s a bit like loving \u003ci>Breaking Bad\u003c/i>, periods of good stress are broken up with deep breaths and gratitude for checkpoints.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/bloodofthewerewolf1.jpg\" style=\"margin-bottom: 10px;\" alt=\"blood of the werewolf\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/11/12/bloodofthewerewolf2.jpg\" style=\"margin-bottom: 10px;\" alt=\"blood of the werewolf\">\u003c/center>\n\u003cp>The game is great on its own, but it should also be noted that it’s not often you come across powerful female leads in games, much less play a grieving mother. As \u003ca href=\"http://www.youtube.com/user/feministfrequency\">Feminist Frequency\u003c/a>, a YouTube channel focused on parsing the complex subject of women in video games, has discussed, women in games are often the victims of kidnapping, becoming the central goal and motivating force behind the hero’s perilous adventure. The rescue of wives, daughters, and princesses is by far the most oft-repeated trope in games to this day. \u003ci>Blood of the Werewolf\u003c/i> gets points for a strong story out of the gate and for inverting entrenched gender roles, but this game is still centered around a kidnapping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you are in the mood for great monsters, good story, and a dose of brain food stress, \u003ci>Blood of the Werewolf\u003c/i> is a great place to start. For \u003ca href=\"http://www.bloodofthewerewolf.com/\">more information\u003c/a> visit bloodofthewerewolf.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1963, the public watched in horror as protesters in Alabama were attacked with fire hoses and police dogs. This was the same year thousands participated in the March on Washington where Rev. Dr. Martin Luther King, Jr. delivered his famous “I Have A Dream” speech. President John F. Kennedy broadcasted the historic Civil Rights Address — several months later he was assassinated. Betty Friedan’s \u003ci>The Feminine Mystique\u003c/i> was published. Vietnam. The Beatles. Though arousing, these historical spotlights are hardly representative of either the experience of the time or their long-reaching effects. So, 50 years later, how do we observe this momentous year?\u003c/p>\n\u003cp>NPR’s \u003ca href=\"http://www.npr.org/blogs/codeswitch/\">Code Switch\u003c/a> does more than simply reflect on, or honor, 1963. Through a new Twitter account, \u003ca href=\"https://twitter.com/TodayIn1963/\">@TodayIn1963\u003c/a>, it offers a chance to relive the news of the past through the media of today. Begun on Jun 6, @TodayIn1963 has been “live tweeting” the summer of 1963. Meaning they are simulating a “real time” play-by-play of events you might expect, from civil and human rights efforts to the politics and culture of the time. There is, of course, an overwhelming well to draw from. But this feed doesn’t just focus on the big headlines, main events or righteous historical outcomes, which is often the way the past is remembered. It embodies the fractured language of Twitter, today’s web and 24-hour media cycle to focus on the minutia of the past, not just what we’ve “learned” from it.\u003c/p>\n\u003cp>@TodayIn1963 isn’t your typical historical tribute project. There are no marble statues or intricate museum displays or big glossy black and white photographs we are accustomed to reading as the language of “observing the past.” In fact, the feed barely dips into the vast visual archive of this moment. There are, however, links to scanned newspaper articles from 1963 housed in Google News’ cavernous historical archive. This offers historical evidence or expanded information but is also a compelling and rupturing visual juxtaposition of media then and now.\u003c/p>\n\u003cp>Followers don’t just look at packaged historical remembrances. If you are a Twitter user, smattered among tweets from your best friend, the \u003ci>Huffington Post\u003c/i> and, say, the Rock (a.k.a. Dwayne Johnson) are dispatches from history that don’t always appear as historical. Aug 28, 1963 was the famous March on Washington, and Aug 28, 2013 was by far one of the most tweet-ful days. Of course, tweets included are predictable relays such as quotes from King’s speech or JFK’s response. But also present are details about parking in downtown D.C., how to handle lost children, or celebrity spotting.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>About 40,000 marchers have gathered at the Washington Monument, some posing for photos like tourists visiting the capital\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/372712841188372480\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Buses carrying marchers now leaving Yonkers, New York, for D.C.\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/372629792253677568\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>This simulates a very different sort of remembrance. Code Switch was smart to use Twitter, exploiting its unceasing onslaught of “brevity en masse” that inherently interrupts and distracts itself, from itself. A random \u003ci>New York Times\u003c/i> post will tease attention from your co-worker’s photo from lunch, which distracts from Kanye West’s current stream of ranting. And so it goes on. History is curated and relies on being presented as a completed thought, even if it’s not. We are taught to interpret it as a message, but not check its motivations. The history presented in @TodayIn1963 is undoubtedly and immediately disrupted, both because it reports on the play-by-play minutia of the event but also because the social media platform does not necessarily allow for a linear or cohesive message to unfold. The message is in the medium of Twitter itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s impossible to see tweets such as this — \u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Pace of Congress slower than ever, writes The Congressional Quarterly \u003ca href=\"http://t.co/75zE95cpjq\">http://t.co/75zE95cpjq\u003c/a>\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/389360102475460609\">October 13, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>or this\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Until the nation can solve unemployment, AFL-CIO president says, it can't fix struggle for civil rights/equal job opportunity.\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/373832997738250240\">August 31, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp> — and not draw distinct connections to our current political moment. And if you are conducting a session of practiced skimming, there are many tweets that if not read closely, would be easily mistaken for current events.\u003c/p>\n\u003cp>History at its most dangerous is an abstracted moment that we look at. @TodayIn1963 is a powerful observance because it employs that very strategy in order to expose its inefficacy. This feed pulls from the media of 50 years ago and is full of nuclear anxiety, protests and marches, unemployment and social unrest. But so is today. @TodayIn1963 impels us to mistake the past for the present. It does not excuse us by suggesting we have come so far or shame us for how far we are not. But it lays bare the ways in which the past is still very much our present and perhaps offers one, of many absent, historical connections for who we are right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/todayin1963\">Follow @TodayIn1963\u003c/a> at twitter.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1963, the public watched in horror as protesters in Alabama were attacked with fire hoses and police dogs. This was the same year thousands participated in the March on Washington where Rev. Dr. Martin Luther King, Jr. delivered his famous “I Have A Dream” speech. President John F. Kennedy broadcasted the historic Civil Rights Address — several months later he was assassinated. Betty Friedan’s \u003ci>The Feminine Mystique\u003c/i> was published. Vietnam. The Beatles. Though arousing, these historical spotlights are hardly representative of either the experience of the time or their long-reaching effects. So, 50 years later, how do we observe this momentous year?\u003c/p>\n\u003cp>NPR’s \u003ca href=\"http://www.npr.org/blogs/codeswitch/\">Code Switch\u003c/a> does more than simply reflect on, or honor, 1963. Through a new Twitter account, \u003ca href=\"https://twitter.com/TodayIn1963/\">@TodayIn1963\u003c/a>, it offers a chance to relive the news of the past through the media of today. Begun on Jun 6, @TodayIn1963 has been “live tweeting” the summer of 1963. Meaning they are simulating a “real time” play-by-play of events you might expect, from civil and human rights efforts to the politics and culture of the time. There is, of course, an overwhelming well to draw from. But this feed doesn’t just focus on the big headlines, main events or righteous historical outcomes, which is often the way the past is remembered. It embodies the fractured language of Twitter, today’s web and 24-hour media cycle to focus on the minutia of the past, not just what we’ve “learned” from it.\u003c/p>\n\u003cp>@TodayIn1963 isn’t your typical historical tribute project. There are no marble statues or intricate museum displays or big glossy black and white photographs we are accustomed to reading as the language of “observing the past.” In fact, the feed barely dips into the vast visual archive of this moment. There are, however, links to scanned newspaper articles from 1963 housed in Google News’ cavernous historical archive. This offers historical evidence or expanded information but is also a compelling and rupturing visual juxtaposition of media then and now.\u003c/p>\n\u003cp>Followers don’t just look at packaged historical remembrances. If you are a Twitter user, smattered among tweets from your best friend, the \u003ci>Huffington Post\u003c/i> and, say, the Rock (a.k.a. Dwayne Johnson) are dispatches from history that don’t always appear as historical. Aug 28, 1963 was the famous March on Washington, and Aug 28, 2013 was by far one of the most tweet-ful days. Of course, tweets included are predictable relays such as quotes from King’s speech or JFK’s response. But also present are details about parking in downtown D.C., how to handle lost children, or celebrity spotting.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>About 40,000 marchers have gathered at the Washington Monument, some posing for photos like tourists visiting the capital\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/372712841188372480\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Buses carrying marchers now leaving Yonkers, New York, for D.C.\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/372629792253677568\">August 28, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>This simulates a very different sort of remembrance. Code Switch was smart to use Twitter, exploiting its unceasing onslaught of “brevity en masse” that inherently interrupts and distracts itself, from itself. A random \u003ci>New York Times\u003c/i> post will tease attention from your co-worker’s photo from lunch, which distracts from Kanye West’s current stream of ranting. And so it goes on. History is curated and relies on being presented as a completed thought, even if it’s not. We are taught to interpret it as a message, but not check its motivations. The history presented in @TodayIn1963 is undoubtedly and immediately disrupted, both because it reports on the play-by-play minutia of the event but also because the social media platform does not necessarily allow for a linear or cohesive message to unfold. The message is in the medium of Twitter itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s impossible to see tweets such as this — \u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Pace of Congress slower than ever, writes The Congressional Quarterly \u003ca href=\"http://t.co/75zE95cpjq\">http://t.co/75zE95cpjq\u003c/a>\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/389360102475460609\">October 13, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>or this\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp>Until the nation can solve unemployment, AFL-CIO president says, it can't fix struggle for civil rights/equal job opportunity.\u003c/p>\n\u003cp>— Today in 1963 (@TodayIn1963) \u003ca href=\"https://twitter.com/todayin1963/statuses/373832997738250240\">August 31, 2013\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp> — and not draw distinct connections to our current political moment. And if you are conducting a session of practiced skimming, there are many tweets that if not read closely, would be easily mistaken for current events.\u003c/p>\n\u003cp>History at its most dangerous is an abstracted moment that we look at. @TodayIn1963 is a powerful observance because it employs that very strategy in order to expose its inefficacy. This feed pulls from the media of 50 years ago and is full of nuclear anxiety, protests and marches, unemployment and social unrest. But so is today. @TodayIn1963 impels us to mistake the past for the present. It does not excuse us by suggesting we have come so far or shame us for how far we are not. But it lays bare the ways in which the past is still very much our present and perhaps offers one, of many absent, historical connections for who we are right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/todayin1963\">Follow @TodayIn1963\u003c/a> at twitter.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why The New Yorker's Caption Contest Is So Inconsistent",
"headTitle": "Why The New Yorker’s Caption Contest Is So Inconsistent | KQED",
"content": "\u003cp>Every issue, \u003ci>The New Yorker\u003c/i> has a contest asking readers to submit a caption for a cartoon that’s already been drawn. The caption is supposed to be funny. The contest is supposed to be fun. \u003ci>The New Yorker\u003c/i> is America’s preeminent weekly magazine for the arts, foreign affairs, and other integral subjects, and the contest draws smart people around the world who think their words deserve to be in the magazine’s hallowed pages. About 5,000 people submit entries for each contest. Only three are named finalists.\u003c/p>\n\u003cp>But the submissions keep coming. And coming. And so does the frustration for thousands of contestants — many in the Bay Area — who think they deserved better treatment from \u003ci>The New Yorker\u003c/i>‘s popular contest. In the July 29, 2013 issue, for example, here was the cartoon: A man sits at a restaurant table staring wide-eyed at his dinner plate, where a fish is staring back and talking. What on earth would a freshly served fish say to a diner? Here was the caption by Howard Brody, a Davis research scientist: “They lied — I’m from Brooklyn.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/21/justwater.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Paul Noth / The New Yorker Collection / \u003ca href=\"http://www.cartoonbank.com\">www.cartoonbank.com\u003c/a>\u003c/p>\n\u003cp>The judges of \u003ci>The New Yorker\u003c/i>‘s caption contest, led by cartoon editor Robert Mankoff, chose Brody’s caption as a finalist, which was a big, big deal. So big that Davis’ biggest newspaper, \u003ca href=\"http://www.davisenterprise.com/local-news/davis-resident-a-finalist-in-new-yorker-cartoon-contest/\">\u003ci>The Davis Enterprise\u003c/i>\u003c/a>, ran a news item with a headline that announced to the entire community, “Davis resident a finalist in \u003ci>New Yorker\u003c/i> cartoon contest.” Brody was thrilled. But the thrill was short-lived. The three caption finalists are put to a popular vote of readers (about 1,500 people vote in each contest, Mankoff says) and Brody’s caption came in a distant third, behind the second-place caption, “Or I could teach you how to fish,” and the winner, “Just water for me, thanks.”\u003c/p>\n\u003cp>Really? In what universe is “Just water for me, thanks” funnier than Brody’s “They lied — I’m from Brooklyn?” More than two months later, Brody is still upset, telling KQED: “I don’t think I should have come in third. The caption, ‘Teach you how to fish,’ was bad and not funny at all. ‘Just water for me’ was funny — it was a quick laugh — but I personally didn’t think it was a \u003ci>New Yorker\u003c/i>-type caption. It didn’t require much thinking. I always thought for \u003ci>New Yorker\u003c/i> captions, you read it, there’s a microsecond of blankness, and then it hits you and you find it funny. ‘Just water for me’ is a joke that many people could come up with.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And therein lies the rub: \u003ci>The New Yorker\u003c/i> seems to be violating its own cartoon principles by constantly choosing caption finalists (like “Just water for me”) that are weak punchlines rather than august demonstrations of creativity and inventiveness. How did “Just water for me” even become a finalist? One of the also-ran captions, “Touch the fork and I’ll scream,” is, to me, a lot funnier. And therein lies a second rub: Mankoff says caption contestants may not share his standards of humor. Shorter captions are generally better, he says. So are captions whose last words have panache or verve. And it’s not just Mankoff choosing the finalists. He tells KQED that his assistant usually helps him winnow down the submitted captions. And he often uses computer programs to reduce the thousands of entries to a manageable level. Once the submissions have been thinned to fewer than 10, Mankoff sends these semifinalist captions to about 40 other \u003ci>New Yorker\u003c/i> editors, who then give him crucial feedback before he chooses the three finalists, which appear in the magazine.\u003c/p>\n\u003cp>“My assistant always goes through the 5,000 (submissions) and he gives me a bunch,” Mankoff says in a phone interview. “I also have a program where I create random samples of a 100. Just random samples. And I just keep looking to see if anything strikes me. And I weed out the things that are very common. I also have another program that sorts by frequency of phrases, and the length of the caption. I have a program that looks at what the last word is, to see if the punch line is there. So there are rules of thumb combined with technology.”\u003c/p>\n\u003cp>This “technology” factor may surprise longtime contestants, but as Mankoff admits, “There’d probably be a better way to (judge the contest) but given the constraints of a weekly magazine, we don’t really have the resources to do that.”\u003c/p>\n\u003cp>\u003ci>The New Yorker\u003c/i>, in other words, is fallible, and the cartoon contest may be the magazine’s most frustrating section because it’s the only one that involves crowd-sourced judging, and it’s the only one that invites so many submissions. The contest’s lack of consistency — where some caption finalists are side-splittingly funny and others are downright pathetic — is absent from the rest of the magazine’s other sections. It’s easy for also-ran contestants to put all the blame on Mankoff, and, if they’ve entered the contest repeatedly and repeatedly been shut out, to be cynical.\u003c/p>\n\u003cp>In a blog post earlier this year headlined, “\u003ca href=\"http://www.hyperorg.com/blogger/2013/05/20/the-new-yorker-caption-contest-is-making-me-an-embittered-broken-man/\">The \u003ci>New Yorker\u003c/i> Caption Contest is making me an embittered, broken man\u003c/a>,” a Harvard researcher named David Weinberger complained (albeit jokingly) that his contest captions were always rejected, citing a cartoon where a Noah-like man stands in a boat full of giraffes, and speaks to a woman. “That’s OK,” went Weinberger’s submission. “Everyone has trouble with Excel at first.” He said his submission was better than the second-place finalist caption, which read, “Mistakes were made,” but several readers of Weinberger’s blog post said Weinberger’s caption wasn’t nearly as good as he thought, with one reader saying that Weinberger’s caption was “incredibly not funny.”\u003c/p>\n\u003cp>Brody’s third-place caption was also ridiculed, with a reader in \u003ci>The Davis Enterprise\u003c/i> writing: “I don’t get it. What does: ‘They lied — I’m from Brooklyn’ mean? Not to sound like too much of the sore loser that I have become 🙂 I think my caption was funnier, but I have yet to be chosen as a finalist. Mine was: ‘Quick — order a pitcher of water, no ice.’ “\u003c/p>\n\u003cp>Brody, who has read \u003ci>The New Yorker\u003c/i> for more than 40 years — starting as a kid when he’d find it in doctors’ waiting rooms and would peruse its regular cartoons, says the contest’s popular vote favors the finalist caption that’s listed first. Fifty percent of the time, he says, the first caption wins. His finalist caption was listed third, and he has not submitted another caption since being a runner-up. “I’ve taken what I call a hiatus,” he says. “I sort of got a bad taste. Being raised in New York, it’s always been a dream to get into \u003ci>The New Yorker\u003c/i>. You begin to fantasize that, ‘I’m truly a talent, and I’ll be asked to move back to Manhattan and I’ll be a staff cartoonist.’ I’m not having that fantasy anymore.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stillthere.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Joseph Farris / The New Yorker Collection / \u003ca href=\"http://www.cartoonbank.com\">www.cartoonbank.com\u003c/a>\u003c/p>\n\u003cp>If Brody embodies how frustrating the contest can be, San Francisco resident Tom Pellack embodies the opposite: Being a caption winner. Pellack won in the September 23 contest, where the cartoon was a man in pajamas and bathrobe opening his living-room window to discover a giant Easter Island-looking figure on his front lawn. Pellack’s caption: “Yes, he’s still out there — and he looks serious.” Pellack, who’s 49 and a vice president of marketing at Comcast SportsNet, says he has entered the contest about 30 times in the past three years, and that “this is one that I didn’t think was going to win.” \u003c/p>\n\u003cp>And that’s the thing about the contest. Even some winners aren’t absolutely convinced of their caption’s superiority. And \u003ci>that\u003c/i>, says Mankoff, is perfectly fine. “There’s no God that knows what the absolute best caption is. It’s just like food; it’s a matter of what you like, right? That goes to humor also,” he says. “I think we do a pretty good job. It’s a very difficult process.”\u003c/p>\n\u003cp>Film critic Roger Ebert, who made his living writing words that were witty and poignant, entered the contest for years, submitting hundreds of captions before finally winning. Mankoff encourages every contestant to take Ebert’s don’t-give-up approach. Before becoming \u003ci>The New Yorker\u003c/i>‘s cartoon editor, Mankoff was an acclaimed cartoonist, and has the distinction of drawing/captioning the magazine’s most reprinted cartoon. In it, an executive is talking on the phone to someone requesting a meeting, and the executive says, “No, Thursday’s out. How about never — is never good for you?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now, \u003ci>that\u003c/i> is a funny caption.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every issue, \u003ci>The New Yorker\u003c/i> has a contest asking readers to submit a caption for a cartoon that’s already been drawn. The caption is supposed to be funny. The contest is supposed to be fun. \u003ci>The New Yorker\u003c/i> is America’s preeminent weekly magazine for the arts, foreign affairs, and other integral subjects, and the contest draws smart people around the world who think their words deserve to be in the magazine’s hallowed pages. About 5,000 people submit entries for each contest. Only three are named finalists.\u003c/p>\n\u003cp>But the submissions keep coming. And coming. And so does the frustration for thousands of contestants — many in the Bay Area — who think they deserved better treatment from \u003ci>The New Yorker\u003c/i>‘s popular contest. In the July 29, 2013 issue, for example, here was the cartoon: A man sits at a restaurant table staring wide-eyed at his dinner plate, where a fish is staring back and talking. What on earth would a freshly served fish say to a diner? Here was the caption by Howard Brody, a Davis research scientist: “They lied — I’m from Brooklyn.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/10/21/justwater.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Paul Noth / The New Yorker Collection / \u003ca href=\"http://www.cartoonbank.com\">www.cartoonbank.com\u003c/a>\u003c/p>\n\u003cp>The judges of \u003ci>The New Yorker\u003c/i>‘s caption contest, led by cartoon editor Robert Mankoff, chose Brody’s caption as a finalist, which was a big, big deal. So big that Davis’ biggest newspaper, \u003ca href=\"http://www.davisenterprise.com/local-news/davis-resident-a-finalist-in-new-yorker-cartoon-contest/\">\u003ci>The Davis Enterprise\u003c/i>\u003c/a>, ran a news item with a headline that announced to the entire community, “Davis resident a finalist in \u003ci>New Yorker\u003c/i> cartoon contest.” Brody was thrilled. But the thrill was short-lived. The three caption finalists are put to a popular vote of readers (about 1,500 people vote in each contest, Mankoff says) and Brody’s caption came in a distant third, behind the second-place caption, “Or I could teach you how to fish,” and the winner, “Just water for me, thanks.”\u003c/p>\n\u003cp>Really? In what universe is “Just water for me, thanks” funnier than Brody’s “They lied — I’m from Brooklyn?” More than two months later, Brody is still upset, telling KQED: “I don’t think I should have come in third. The caption, ‘Teach you how to fish,’ was bad and not funny at all. ‘Just water for me’ was funny — it was a quick laugh — but I personally didn’t think it was a \u003ci>New Yorker\u003c/i>-type caption. It didn’t require much thinking. I always thought for \u003ci>New Yorker\u003c/i> captions, you read it, there’s a microsecond of blankness, and then it hits you and you find it funny. ‘Just water for me’ is a joke that many people could come up with.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And therein lies the rub: \u003ci>The New Yorker\u003c/i> seems to be violating its own cartoon principles by constantly choosing caption finalists (like “Just water for me”) that are weak punchlines rather than august demonstrations of creativity and inventiveness. How did “Just water for me” even become a finalist? One of the also-ran captions, “Touch the fork and I’ll scream,” is, to me, a lot funnier. And therein lies a second rub: Mankoff says caption contestants may not share his standards of humor. Shorter captions are generally better, he says. So are captions whose last words have panache or verve. And it’s not just Mankoff choosing the finalists. He tells KQED that his assistant usually helps him winnow down the submitted captions. And he often uses computer programs to reduce the thousands of entries to a manageable level. Once the submissions have been thinned to fewer than 10, Mankoff sends these semifinalist captions to about 40 other \u003ci>New Yorker\u003c/i> editors, who then give him crucial feedback before he chooses the three finalists, which appear in the magazine.\u003c/p>\n\u003cp>“My assistant always goes through the 5,000 (submissions) and he gives me a bunch,” Mankoff says in a phone interview. “I also have a program where I create random samples of a 100. Just random samples. And I just keep looking to see if anything strikes me. And I weed out the things that are very common. I also have another program that sorts by frequency of phrases, and the length of the caption. I have a program that looks at what the last word is, to see if the punch line is there. So there are rules of thumb combined with technology.”\u003c/p>\n\u003cp>This “technology” factor may surprise longtime contestants, but as Mankoff admits, “There’d probably be a better way to (judge the contest) but given the constraints of a weekly magazine, we don’t really have the resources to do that.”\u003c/p>\n\u003cp>\u003ci>The New Yorker\u003c/i>, in other words, is fallible, and the cartoon contest may be the magazine’s most frustrating section because it’s the only one that involves crowd-sourced judging, and it’s the only one that invites so many submissions. The contest’s lack of consistency — where some caption finalists are side-splittingly funny and others are downright pathetic — is absent from the rest of the magazine’s other sections. It’s easy for also-ran contestants to put all the blame on Mankoff, and, if they’ve entered the contest repeatedly and repeatedly been shut out, to be cynical.\u003c/p>\n\u003cp>In a blog post earlier this year headlined, “\u003ca href=\"http://www.hyperorg.com/blogger/2013/05/20/the-new-yorker-caption-contest-is-making-me-an-embittered-broken-man/\">The \u003ci>New Yorker\u003c/i> Caption Contest is making me an embittered, broken man\u003c/a>,” a Harvard researcher named David Weinberger complained (albeit jokingly) that his contest captions were always rejected, citing a cartoon where a Noah-like man stands in a boat full of giraffes, and speaks to a woman. “That’s OK,” went Weinberger’s submission. “Everyone has trouble with Excel at first.” He said his submission was better than the second-place finalist caption, which read, “Mistakes were made,” but several readers of Weinberger’s blog post said Weinberger’s caption wasn’t nearly as good as he thought, with one reader saying that Weinberger’s caption was “incredibly not funny.”\u003c/p>\n\u003cp>Brody’s third-place caption was also ridiculed, with a reader in \u003ci>The Davis Enterprise\u003c/i> writing: “I don’t get it. What does: ‘They lied — I’m from Brooklyn’ mean? Not to sound like too much of the sore loser that I have become 🙂 I think my caption was funnier, but I have yet to be chosen as a finalist. Mine was: ‘Quick — order a pitcher of water, no ice.’ “\u003c/p>\n\u003cp>Brody, who has read \u003ci>The New Yorker\u003c/i> for more than 40 years — starting as a kid when he’d find it in doctors’ waiting rooms and would peruse its regular cartoons, says the contest’s popular vote favors the finalist caption that’s listed first. Fifty percent of the time, he says, the first caption wins. His finalist caption was listed third, and he has not submitted another caption since being a runner-up. “I’ve taken what I call a hiatus,” he says. “I sort of got a bad taste. Being raised in New York, it’s always been a dream to get into \u003ci>The New Yorker\u003c/i>. You begin to fantasize that, ‘I’m truly a talent, and I’ll be asked to move back to Manhattan and I’ll be a staff cartoonist.’ I’m not having that fantasy anymore.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/stillthere.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Joseph Farris / The New Yorker Collection / \u003ca href=\"http://www.cartoonbank.com\">www.cartoonbank.com\u003c/a>\u003c/p>\n\u003cp>If Brody embodies how frustrating the contest can be, San Francisco resident Tom Pellack embodies the opposite: Being a caption winner. Pellack won in the September 23 contest, where the cartoon was a man in pajamas and bathrobe opening his living-room window to discover a giant Easter Island-looking figure on his front lawn. Pellack’s caption: “Yes, he’s still out there — and he looks serious.” Pellack, who’s 49 and a vice president of marketing at Comcast SportsNet, says he has entered the contest about 30 times in the past three years, and that “this is one that I didn’t think was going to win.” \u003c/p>\n\u003cp>And that’s the thing about the contest. Even some winners aren’t absolutely convinced of their caption’s superiority. And \u003ci>that\u003c/i>, says Mankoff, is perfectly fine. “There’s no God that knows what the absolute best caption is. It’s just like food; it’s a matter of what you like, right? That goes to humor also,” he says. “I think we do a pretty good job. It’s a very difficult process.”\u003c/p>\n\u003cp>Film critic Roger Ebert, who made his living writing words that were witty and poignant, entered the contest for years, submitting hundreds of captions before finally winning. Mankoff encourages every contestant to take Ebert’s don’t-give-up approach. Before becoming \u003ci>The New Yorker\u003c/i>‘s cartoon editor, Mankoff was an acclaimed cartoonist, and has the distinction of drawing/captioning the magazine’s most reprinted cartoon. In it, an executive is talking on the phone to someone requesting a meeting, and the executive says, “No, Thursday’s out. How about never — is never good for you?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back when people used telephones for talking, friends had rambling conversations that could last for hours. Today, communications between friends are often condensed to 140 characters or less. Leave it to San Franciscan tech guru, Merlin Mann, to use the creation of a podcast as a pretext for maintaining a modern friendship with Seattle-based musician, John Roderick. Together these Gen-Xers resurrect the lost art of phone banter each week with a recorded Skype call, which through the magic of computers and the Internet becomes the podcast, \u003ci>Roderick on the Line\u003c/i>.\u003c/p>\n\u003cp>If you’ve ever had a “frank and candid” conversation so enjoyable, you wish it had been recorded so you could relive it later, then you will understand the appeal of this podcast. After listening to a few episodes of \u003ci>Roderick on the Line\u003c/i> you may even consider memorializing each of your own friendships in shareable audio files, but not everyone can be a Mann or a Roderick.\u003c/p>\n\u003cp>Whether you know Mann as inventor of the “\u003ca href=\"http://www.43folders.com/\">43 Folders\u003c/a>” productivity system or Roderick as the lead singer of \u003ca href=\"http://www.thelongwinters.com/\">The Long Winters\u003c/a>, neither of these qualifications inherently lend themselves to podcasting. However, Mann’s technical ability and Roderick’s charisma make each conversation podcast-ready.\u003c/p>\n\u003cp>Roderick is the titular star of the podcast but Mann is the meticulous producer who lets the talent shine. He keeps a running record of talking points on his signature stack of notecards and asks the right questions to get Roderick on a roll.\u003c/p>\n\u003cp>Roderick rollicks through tall tales of his roguish youth and world travels hiking from Amsterdam to Istanbul with a faulty North Face pack: encountering campfire spaghetti parties in the Czech Republic featuring ketchup instead of tomato sauce. Along with remembering the good ole days, there’s also a healthy dose of despairing about the present and planning for the future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As self-deprecating megalomaniacs, Roderick and Merlin at once assume that no one and everyone is listening. In “Supertrain” (Episode 25), they brazenly outline their plans for world domination, which has developed over time to include intergalactic diplomacy or at the very least a bed and breakfast for snipers. If Roderick is a modern Machiavelli, Mann is his enabling Prince who publishes the podcast by way of making Roderick’s advice available to “help” the rest of us.\u003c/p>\n\u003cp>Roderick’s cultivated delusions of grandeur and Mann’s neurotic asides (“Here’s the thing…” “Turns out…” “…as you do,”) result in an endless feedback loop of banter. Their freewheeling hyperbole is grounded by frank discussions of their foibles as fathers, professionals and aging men. “I’m starting to feel like a sitcom father,” Roderick said in “Pedagogical Sex Father” (Episode 84), “I used to talk about so many things: world domination, striking fear into the hearts of villagers, and now I’m just like, ‘QUINOA!'”\u003c/p>\n\u003cp>And like most middle-aged men WWII inevitably comes up along with more than enough information about the Holocaust to warrant the formation of a new podcast tentatively called, \u003ci>Hitler ‘n Stuff\u003c/i>. Which probably makes you wonder how politically correct this podcast is. Not very. Made obvious by episode titles such as “The Viet Cong Can Smell the Soap,” and “Dead Rubber Girl in my Closet.”\u003c/p>\n\u003cp>While it may be a bit rough around the edges for listeners with delicate constitutions, the charm of the bromance builds as you listen and familiarize yourself with the quirks of the two men and the self-referentiality of their humor. And although this is not the kind of podcast you have to start from the very beginning to enjoy, your experience will be all the richer for it and truth be told, you probably won’t be able to wait for the next episode.\u003c/p>\n\u003cp>According to the podcast’s Facebook page, “While these sorts of calls have been conducted privately on a regular basis since something like 2003, they are now being made available to the public as an audio podcast,” and \u003ci>Roderick on the Line\u003c/i> fans couldn’t be happier. We can reap the rewards of a decade-long friendship without exerting any effort whatsoever.\u003c/p>\n\u003cp>In “Suit of Vomit,” the first episode, Mann and Roderick discuss the structure of their nascent podcast. Roderick said, “You know what I need in my life? I need structure, I need a pattern. I need one thing that happens every week. Will that be you Merlin Mann?” Even if you don’t have a friend to call every week, at least you can listen to \u003ci>Roderick on the Line\u003c/i> while clinging to the hope that someday you may find one worthy of an hour-long phone conversation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.merlinmann.com/roderick/\">more episodes\u003c/a> of \u003ci>Roderick on the Line\u003c/i> visit merlinmann.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when people used telephones for talking, friends had rambling conversations that could last for hours. Today, communications between friends are often condensed to 140 characters or less. Leave it to San Franciscan tech guru, Merlin Mann, to use the creation of a podcast as a pretext for maintaining a modern friendship with Seattle-based musician, John Roderick. Together these Gen-Xers resurrect the lost art of phone banter each week with a recorded Skype call, which through the magic of computers and the Internet becomes the podcast, \u003ci>Roderick on the Line\u003c/i>.\u003c/p>\n\u003cp>If you’ve ever had a “frank and candid” conversation so enjoyable, you wish it had been recorded so you could relive it later, then you will understand the appeal of this podcast. After listening to a few episodes of \u003ci>Roderick on the Line\u003c/i> you may even consider memorializing each of your own friendships in shareable audio files, but not everyone can be a Mann or a Roderick.\u003c/p>\n\u003cp>Whether you know Mann as inventor of the “\u003ca href=\"http://www.43folders.com/\">43 Folders\u003c/a>” productivity system or Roderick as the lead singer of \u003ca href=\"http://www.thelongwinters.com/\">The Long Winters\u003c/a>, neither of these qualifications inherently lend themselves to podcasting. However, Mann’s technical ability and Roderick’s charisma make each conversation podcast-ready.\u003c/p>\n\u003cp>Roderick is the titular star of the podcast but Mann is the meticulous producer who lets the talent shine. He keeps a running record of talking points on his signature stack of notecards and asks the right questions to get Roderick on a roll.\u003c/p>\n\u003cp>Roderick rollicks through tall tales of his roguish youth and world travels hiking from Amsterdam to Istanbul with a faulty North Face pack: encountering campfire spaghetti parties in the Czech Republic featuring ketchup instead of tomato sauce. Along with remembering the good ole days, there’s also a healthy dose of despairing about the present and planning for the future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As self-deprecating megalomaniacs, Roderick and Merlin at once assume that no one and everyone is listening. In “Supertrain” (Episode 25), they brazenly outline their plans for world domination, which has developed over time to include intergalactic diplomacy or at the very least a bed and breakfast for snipers. If Roderick is a modern Machiavelli, Mann is his enabling Prince who publishes the podcast by way of making Roderick’s advice available to “help” the rest of us.\u003c/p>\n\u003cp>Roderick’s cultivated delusions of grandeur and Mann’s neurotic asides (“Here’s the thing…” “Turns out…” “…as you do,”) result in an endless feedback loop of banter. Their freewheeling hyperbole is grounded by frank discussions of their foibles as fathers, professionals and aging men. “I’m starting to feel like a sitcom father,” Roderick said in “Pedagogical Sex Father” (Episode 84), “I used to talk about so many things: world domination, striking fear into the hearts of villagers, and now I’m just like, ‘QUINOA!'”\u003c/p>\n\u003cp>And like most middle-aged men WWII inevitably comes up along with more than enough information about the Holocaust to warrant the formation of a new podcast tentatively called, \u003ci>Hitler ‘n Stuff\u003c/i>. Which probably makes you wonder how politically correct this podcast is. Not very. Made obvious by episode titles such as “The Viet Cong Can Smell the Soap,” and “Dead Rubber Girl in my Closet.”\u003c/p>\n\u003cp>While it may be a bit rough around the edges for listeners with delicate constitutions, the charm of the bromance builds as you listen and familiarize yourself with the quirks of the two men and the self-referentiality of their humor. And although this is not the kind of podcast you have to start from the very beginning to enjoy, your experience will be all the richer for it and truth be told, you probably won’t be able to wait for the next episode.\u003c/p>\n\u003cp>According to the podcast’s Facebook page, “While these sorts of calls have been conducted privately on a regular basis since something like 2003, they are now being made available to the public as an audio podcast,” and \u003ci>Roderick on the Line\u003c/i> fans couldn’t be happier. We can reap the rewards of a decade-long friendship without exerting any effort whatsoever.\u003c/p>\n\u003cp>In “Suit of Vomit,” the first episode, Mann and Roderick discuss the structure of their nascent podcast. Roderick said, “You know what I need in my life? I need structure, I need a pattern. I need one thing that happens every week. Will that be you Merlin Mann?” Even if you don’t have a friend to call every week, at least you can listen to \u003ci>Roderick on the Line\u003c/i> while clinging to the hope that someday you may find one worthy of an hour-long phone conversation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.merlinmann.com/roderick/\">more episodes\u003c/a> of \u003ci>Roderick on the Line\u003c/i> visit merlinmann.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Night Vale is a friendly desert community where the sun is hot, the moon is beautiful and mysterious lights pass overhead as we all pretend to sleep.” Or at least that’s how Cecil, the fictional host of one of America’s most popular podcasts, \u003ci>Welcome to Night Vale\u003c/i>, describes his little hamlet.\u003c/p>\n\u003cp>Written by Joseph Fink and Jeffrey Cranor, and voiced by Cecil Baldwin, \u003ci>Welcome to Night Vale\u003c/i> is a twice-monthly podcast play, in the style of a community radio broadcast. The show reports local news, weather, and various announcements and proclamations from the small town’s city council, mayoral election and sheriff’s secret police. What makes the show peculiar is the strange goings-on in this little town: the moody angel population, the multiplicity of circling helicopters, the multidimensional doors to secret old houses, and the glow cloud, which tends to rain animal carcasses on the historic downtown. The show is part Lake Wobegone, part \u003ci>Twin Peaks\u003c/i>, and part \u003ci>Twilight Zone\u003c/i>. And \u003ci>Welcome to Night Vale\u003c/i> has skyrocketed in popularity over the summer, in part due to a \u003ca href=\"http://-welcometonightvale.tumblr.com/\">rising fandom on Tumblr\u003c/a>, but also from vocal fans on Twitter, including the well followed young adult author Maureen Johnson. But what is everyone so excited about?\u003c/p>\n\u003cp>Well to be succinct, \u003ci>Night Vale\u003c/i> feels tailor-made for right now. The ultimate genre mashup, \u003ci>Night Vale\u003c/i> accepts as true any and all beliefs — conspiracy theories to religions — but all the horrors, and mysteries and complete unknowables experienced by the little town are held together under the umbrella of everyday “\u003ca href=\"http://www.urbandictionary.com/define.php?term=Mundacity\">mundacity\u003c/a>.” Much like our everyday networking has led us to simply accept and deal with every weird and horrific and uncanny thing the Internet can throw at us, \u003ci>Night Vale\u003c/i> accepts every hoard of faceless children and invading army born from the desert sands as natural, just something to get through until tomorrow.\u003c/p>\n\u003cp>It’s this constant presence of the unknown, or “the Other” as it might be called in Imperialism or Gender Studies, that listeners flock to. It is an uncertainty we can at least empathize with and even, for some fans, get cathartic release from. How? \u003ci>Night Vale\u003c/i>‘s language-only format is at odds with our own overexposed eyes. With \u003ci>Night Vale\u003c/i> we can never achieve visual satisfaction, which is a sensation contrary to how we use and experience the Internet today.\u003c/p>\n\u003cp>But the audio-only podcast allows listeners to create their own images of Cecil and the other characters and events in the show and to share them, mostly thanks to Tumblr, with other listeners. Not only can fans create their own individual ideas about what Cecil and his small town look like, but common physical attributes have emerged out of the creative melting pot of fan art sharing sites. Characteristics never described in the show itself, like Cecil’s extensive purple tattoos and a third eye, have become commonly accepted. \u003ci>Welcome to Night Vale\u003c/i>‘s revelry in the unknown allows fans to visualize the show together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The podcast can only describe the horrors of street cleaning day, but the fans are allowed to depict, and thus attempt to enfold the slippery, metaphor-happy anomaly of \u003ci>Night Vale\u003c/i> into our present image-heavy culture. While this type of fan-only depiction essentially means there can never be a visual canon for \u003ci>Night Vale\u003c/i> — no matter how many drawings of Cecil crop up with that third eye, fans creating or even just scrolling through the hashtagged creations of others are still attempting to gain a visual record, visual confirmation, for Night Vale’s strange and horrible.\u003c/p>\n\u003cp>So if you need a taste of the horribly mundane and exultantly moody have a listen to \u003ci>Welcome to Night Vale\u003c/i>, but remember if you see something, say nothing. Everything’s going to be just fine.\u003c/p>\n\u003cp>\u003ci>Welcome to Night Vale\u003c/i> is a production of Commonplace Books. For \u003ca href=\"http://commonplacebooks.com/welcome-to-night-vale/\">more information\u003c/a>, visit commonplacebooks.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Night Vale is a friendly desert community where the sun is hot, the moon is beautiful and mysterious lights pass overhead as we all pretend to sleep.” Or at least that’s how Cecil, the fictional host of one of America’s most popular podcasts, \u003ci>Welcome to Night Vale\u003c/i>, describes his little hamlet.\u003c/p>\n\u003cp>Written by Joseph Fink and Jeffrey Cranor, and voiced by Cecil Baldwin, \u003ci>Welcome to Night Vale\u003c/i> is a twice-monthly podcast play, in the style of a community radio broadcast. The show reports local news, weather, and various announcements and proclamations from the small town’s city council, mayoral election and sheriff’s secret police. What makes the show peculiar is the strange goings-on in this little town: the moody angel population, the multiplicity of circling helicopters, the multidimensional doors to secret old houses, and the glow cloud, which tends to rain animal carcasses on the historic downtown. The show is part Lake Wobegone, part \u003ci>Twin Peaks\u003c/i>, and part \u003ci>Twilight Zone\u003c/i>. And \u003ci>Welcome to Night Vale\u003c/i> has skyrocketed in popularity over the summer, in part due to a \u003ca href=\"http://-welcometonightvale.tumblr.com/\">rising fandom on Tumblr\u003c/a>, but also from vocal fans on Twitter, including the well followed young adult author Maureen Johnson. But what is everyone so excited about?\u003c/p>\n\u003cp>Well to be succinct, \u003ci>Night Vale\u003c/i> feels tailor-made for right now. The ultimate genre mashup, \u003ci>Night Vale\u003c/i> accepts as true any and all beliefs — conspiracy theories to religions — but all the horrors, and mysteries and complete unknowables experienced by the little town are held together under the umbrella of everyday “\u003ca href=\"http://www.urbandictionary.com/define.php?term=Mundacity\">mundacity\u003c/a>.” Much like our everyday networking has led us to simply accept and deal with every weird and horrific and uncanny thing the Internet can throw at us, \u003ci>Night Vale\u003c/i> accepts every hoard of faceless children and invading army born from the desert sands as natural, just something to get through until tomorrow.\u003c/p>\n\u003cp>It’s this constant presence of the unknown, or “the Other” as it might be called in Imperialism or Gender Studies, that listeners flock to. It is an uncertainty we can at least empathize with and even, for some fans, get cathartic release from. How? \u003ci>Night Vale\u003c/i>‘s language-only format is at odds with our own overexposed eyes. With \u003ci>Night Vale\u003c/i> we can never achieve visual satisfaction, which is a sensation contrary to how we use and experience the Internet today.\u003c/p>\n\u003cp>But the audio-only podcast allows listeners to create their own images of Cecil and the other characters and events in the show and to share them, mostly thanks to Tumblr, with other listeners. Not only can fans create their own individual ideas about what Cecil and his small town look like, but common physical attributes have emerged out of the creative melting pot of fan art sharing sites. Characteristics never described in the show itself, like Cecil’s extensive purple tattoos and a third eye, have become commonly accepted. \u003ci>Welcome to Night Vale\u003c/i>‘s revelry in the unknown allows fans to visualize the show together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The podcast can only describe the horrors of street cleaning day, but the fans are allowed to depict, and thus attempt to enfold the slippery, metaphor-happy anomaly of \u003ci>Night Vale\u003c/i> into our present image-heavy culture. While this type of fan-only depiction essentially means there can never be a visual canon for \u003ci>Night Vale\u003c/i> — no matter how many drawings of Cecil crop up with that third eye, fans creating or even just scrolling through the hashtagged creations of others are still attempting to gain a visual record, visual confirmation, for Night Vale’s strange and horrible.\u003c/p>\n\u003cp>So if you need a taste of the horribly mundane and exultantly moody have a listen to \u003ci>Welcome to Night Vale\u003c/i>, but remember if you see something, say nothing. Everything’s going to be just fine.\u003c/p>\n\u003cp>\u003ci>Welcome to Night Vale\u003c/i> is a production of Commonplace Books. For \u003ca href=\"http://commonplacebooks.com/welcome-to-night-vale/\">more information\u003c/a>, visit commonplacebooks.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amazon just got into the art game, partnering with galleries around the world and highlighting art market newcomers like Andy Warhol, Damien Hirst, and Salvador Dali. Just kidding! Those guys are famous, but there are thousands of less well-known artists whose work is now waiting to be discovered and sold through 1-click shopping.\u003c/p>\n\u003cp>While the emotional impact of a painting is diluted through online imaging, there are many pieces on Amazon Art that still successfully convey their gloomy state of mind. Below is a list of what I think are the most bummer artworks on Amazon Art. Taste is subjective and while these images make me sad, they might make you really happy. Sad isn’t always bad. Sad music is a necessity and sad art makes us feel something, for better or for worse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Donald Martiny, \u003ci>Toward, 2011\u003c/i>, 2011\u003c/p>\n\u003cp>This crusty black stick, for example, made me really sad at first glance. Who would pay five grand for an object that looks like discarded junk found next to the train tracks? Turns out the stick is 60 inches long, quite a substantial piece by \u003ca href=\"http://www.amazon.com/Toward-2011/dp/B00DX7IZEU/ref=sr_1_168?s=art&ie=UTF8&qid=1376586994&sr=1-168\">Donald Martiny\u003c/a>, who works with thick applications of pigment, but it’s still a downer. Its \u003ca href=\"http://www.amazon.com/With-2011/dp/B00DX7IZ5E/ref=art_owfa_2\">red counterpart\u003c/a> is a little more cheery, and a little more expensive.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Purvis Young, \u003ci>Drawing from the 1990s #119\u003c/i>, circa 1990\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This drawing by artist \u003ca href=\"http://www.amazon.com/Drawing-from-the-1990s-119/dp/B00E1WEUV8/ref=sr_1_4?s=art&ie=UTF8&qid=1376629112&sr=1-4\">Purvis Young\u003c/a> was listed in the outsider art section and is simply titled, \u003ci>Drawing from the 1990s #119\u003c/i>. He lived in Miami, and on his list of inspirations is, “the abundance of pregnant women populating the neighborhood.” I read more about Young and discovered that he was a beloved artist who made hundreds of small drawings like this one. He saved them in a shopping cart and later glued them into books. Young passed away in 2010. His collector base is vast and his paintings are terrific, but the low-quality photo of this tattered sketch of what could be a funeral isn’t the happiest piece of art on earth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Damien Hirst, \u003ci>Picolinic Acid\u003c/i>, 2012\u003c/p>\n\u003cp>The spot paintings by \u003ca href=\"http://www.amazon.com/Picolinic-Acid/dp/B00EE17IHO/ref=sr_1_4?s=art&ie=UTF8&qid=1376622038&sr=1-4\">Damien Hirst\u003c/a> are accessible and plentiful, and they reference the pharmaceutical industry. For some reason it makes me sad to think of someone buying this piece, \u003ci>Picolinic Acid\u003c/i>. I picture them wearing a t-shirt that says, “I bought a Damien Hirst and all I got was 1.5 spots.” Amazon Art graciously provides an “in room” view of its art, superimposing each piece onto a living room wall so you can see what it would look like next to your West Elm furniture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Randy Beckelheimer, \u003ci>HPS-35\u003c/i>, 2011\u003c/p>\n\u003cp>I love this oil painting by \u003ca href=\"http://www.amazon.com/HPS-35/dp/B00DOJKB9O/ref=sr_1_3?s=art&ie=UTF8&qid=1376586829&sr=1-3\">Randy Beckelheimer\u003c/a>. The lighting and industrial background of this “desolate landscape in Hunters Point,” is moody, but I would happily live with it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Elliot McDowell, \u003ci>Flying Horse\u003c/i>, 1978\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Flying-Horse/dp/B00DYHTYBW/ref=sr_1_1?s=art&ie=UTF8&qid=1376586754&sr=1-1\">Flying Horse\u003c/a> by Elliot McDowell immediately brought to mind a vintage Exxon logo scratched into a puddle of oil, and considering the oil industry’s impact on the environment, it could be considered a bummer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ivana Jurna Lipska, \u003ci>Beloud Arabove\u003c/i>, 1989\u003c/p>\n\u003cp>Ugh, these horses looks so ragged. \u003ca href=\"http://www.amazon.com/Beloud-Arabove/dp/B00E6Z7YMW/ref=sr_1_1?s=art&ie=UTF8&qid=1381173004&sr=1-1&keywords=Ivana+Jurna+Lipska\">Ivana Jurna Lipska\u003c/a> was using color to play with highlights and shadows when she made this painting in 1989, and she is clearly talented because horses are hard to draw and paint. But, for some reason, these poor beasts look sickly, down and out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Dale Johnson, \u003ci>Early Morning Fog Bank\u003c/i>, 2011\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/15x15-Edition-Johnson-Early-Morning/dp/B00EB15Z5O/ref=sr_1_1?s=collectibles&ie=UTF8&qid=1377489921&sr=1-1&keywords=morning+fog\">Dale Johnson\u003c/a> uses a modified toy camera lens to shoot his painterly photographs. This \u003ci>Early Morning Fog Bank\u003c/i> is reminiscent of those gray San Francisco mornings where we bundle up and head to work through the pea soup that constitutes our summer climate.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart8.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Charles Marburg, \u003ci>Portrait of the Artist as a Young Man\u003c/i>, 2011\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Portrait-Artist-as-Young-Man/dp/B00E4VPOU2/ref=sr_1_37?s=art&ie=UTF8&qid=1376586884&sr=1-37\">Charles Marburg\u003c/a> describes his paintings, including this \u003ci>Portrait of the Artist as a Young Man\u003c/i> as “a conduit between my stumbling efforts and the pale flicker of my unconscious.” Here I am, I imagine him saying, a cold blob falling out of the frame. The hint of chartreuse gives it a kick, but the piece still looks to me like a portrait of dull pain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart9.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Michael Cole Manley, \u003ci>Super Sad\u003c/i>, no date listed\u003c/p>\n\u003cp>Like many of the works on Amazon Art, there is no specific description of this painting, which is aptly titled \u003ci>Super Sad\u003c/i>. Created by MFA student \u003ca href=\"http://www.amazon.com/Super-Sad/dp/B00E5QI7S2/ref=sr_1_3?s=collectibles&ie=UTF8&qid=1377490502&sr=1-3&keywords=sad+painting\">Michael Cole Manley\u003c/a>, this painting certainly is super sad, but the red figure in the corner reads like a tiny beam of hope in this otherwise abandoned scene.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart10.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Harris Johnson, \u003ci>Sad Movie Woman\u003c/i>, 2010\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Sad-Movie-Woman/dp/B00DONVQ94/ref=sr_1_2?s=collectibles&ie=UTF8&qid=1377490502&sr=1-2&keywords=sad+painting\">Harris Johnson\u003c/a>‘s \u003ci>Sad Movie Woman\u003c/i> is depressing in a funny way. The forlorn, cartoonish face seems to make light of \u003ca href=\"http://24.media.tumblr.com/37f1c681f5db2f76ec3e3c200bef48b4/tumblr_mfpuq5PyKN1rm1c0do1_400.gif\">ugly crying\u003c/a> and reminds me of how quickly the bellyaching switch can be flipped to laughter at any moment when the proper joke is applied.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find more bummer art at \u003ca href=\"http://www.amazon.com/b/?node=6685269011\">Amazon.com/Art\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon just got into the art game, partnering with galleries around the world and highlighting art market newcomers like Andy Warhol, Damien Hirst, and Salvador Dali. Just kidding! Those guys are famous, but there are thousands of less well-known artists whose work is now waiting to be discovered and sold through 1-click shopping.\u003c/p>\n\u003cp>While the emotional impact of a painting is diluted through online imaging, there are many pieces on Amazon Art that still successfully convey their gloomy state of mind. Below is a list of what I think are the most bummer artworks on Amazon Art. Taste is subjective and while these images make me sad, they might make you really happy. Sad isn’t always bad. Sad music is a necessity and sad art makes us feel something, for better or for worse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Donald Martiny, \u003ci>Toward, 2011\u003c/i>, 2011\u003c/p>\n\u003cp>This crusty black stick, for example, made me really sad at first glance. Who would pay five grand for an object that looks like discarded junk found next to the train tracks? Turns out the stick is 60 inches long, quite a substantial piece by \u003ca href=\"http://www.amazon.com/Toward-2011/dp/B00DX7IZEU/ref=sr_1_168?s=art&ie=UTF8&qid=1376586994&sr=1-168\">Donald Martiny\u003c/a>, who works with thick applications of pigment, but it’s still a downer. Its \u003ca href=\"http://www.amazon.com/With-2011/dp/B00DX7IZ5E/ref=art_owfa_2\">red counterpart\u003c/a> is a little more cheery, and a little more expensive.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Purvis Young, \u003ci>Drawing from the 1990s #119\u003c/i>, circa 1990\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This drawing by artist \u003ca href=\"http://www.amazon.com/Drawing-from-the-1990s-119/dp/B00E1WEUV8/ref=sr_1_4?s=art&ie=UTF8&qid=1376629112&sr=1-4\">Purvis Young\u003c/a> was listed in the outsider art section and is simply titled, \u003ci>Drawing from the 1990s #119\u003c/i>. He lived in Miami, and on his list of inspirations is, “the abundance of pregnant women populating the neighborhood.” I read more about Young and discovered that he was a beloved artist who made hundreds of small drawings like this one. He saved them in a shopping cart and later glued them into books. Young passed away in 2010. His collector base is vast and his paintings are terrific, but the low-quality photo of this tattered sketch of what could be a funeral isn’t the happiest piece of art on earth.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Damien Hirst, \u003ci>Picolinic Acid\u003c/i>, 2012\u003c/p>\n\u003cp>The spot paintings by \u003ca href=\"http://www.amazon.com/Picolinic-Acid/dp/B00EE17IHO/ref=sr_1_4?s=art&ie=UTF8&qid=1376622038&sr=1-4\">Damien Hirst\u003c/a> are accessible and plentiful, and they reference the pharmaceutical industry. For some reason it makes me sad to think of someone buying this piece, \u003ci>Picolinic Acid\u003c/i>. I picture them wearing a t-shirt that says, “I bought a Damien Hirst and all I got was 1.5 spots.” Amazon Art graciously provides an “in room” view of its art, superimposing each piece onto a living room wall so you can see what it would look like next to your West Elm furniture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Randy Beckelheimer, \u003ci>HPS-35\u003c/i>, 2011\u003c/p>\n\u003cp>I love this oil painting by \u003ca href=\"http://www.amazon.com/HPS-35/dp/B00DOJKB9O/ref=sr_1_3?s=art&ie=UTF8&qid=1376586829&sr=1-3\">Randy Beckelheimer\u003c/a>. The lighting and industrial background of this “desolate landscape in Hunters Point,” is moody, but I would happily live with it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Elliot McDowell, \u003ci>Flying Horse\u003c/i>, 1978\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Flying-Horse/dp/B00DYHTYBW/ref=sr_1_1?s=art&ie=UTF8&qid=1376586754&sr=1-1\">Flying Horse\u003c/a> by Elliot McDowell immediately brought to mind a vintage Exxon logo scratched into a puddle of oil, and considering the oil industry’s impact on the environment, it could be considered a bummer.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart6.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ivana Jurna Lipska, \u003ci>Beloud Arabove\u003c/i>, 1989\u003c/p>\n\u003cp>Ugh, these horses looks so ragged. \u003ca href=\"http://www.amazon.com/Beloud-Arabove/dp/B00E6Z7YMW/ref=sr_1_1?s=art&ie=UTF8&qid=1381173004&sr=1-1&keywords=Ivana+Jurna+Lipska\">Ivana Jurna Lipska\u003c/a> was using color to play with highlights and shadows when she made this painting in 1989, and she is clearly talented because horses are hard to draw and paint. But, for some reason, these poor beasts look sickly, down and out.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart7.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Dale Johnson, \u003ci>Early Morning Fog Bank\u003c/i>, 2011\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/15x15-Edition-Johnson-Early-Morning/dp/B00EB15Z5O/ref=sr_1_1?s=collectibles&ie=UTF8&qid=1377489921&sr=1-1&keywords=morning+fog\">Dale Johnson\u003c/a> uses a modified toy camera lens to shoot his painterly photographs. This \u003ci>Early Morning Fog Bank\u003c/i> is reminiscent of those gray San Francisco mornings where we bundle up and head to work through the pea soup that constitutes our summer climate.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart8.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Charles Marburg, \u003ci>Portrait of the Artist as a Young Man\u003c/i>, 2011\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Portrait-Artist-as-Young-Man/dp/B00E4VPOU2/ref=sr_1_37?s=art&ie=UTF8&qid=1376586884&sr=1-37\">Charles Marburg\u003c/a> describes his paintings, including this \u003ci>Portrait of the Artist as a Young Man\u003c/i> as “a conduit between my stumbling efforts and the pale flicker of my unconscious.” Here I am, I imagine him saying, a cold blob falling out of the frame. The hint of chartreuse gives it a kick, but the piece still looks to me like a portrait of dull pain.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart9.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Michael Cole Manley, \u003ci>Super Sad\u003c/i>, no date listed\u003c/p>\n\u003cp>Like many of the works on Amazon Art, there is no specific description of this painting, which is aptly titled \u003ci>Super Sad\u003c/i>. Created by MFA student \u003ca href=\"http://www.amazon.com/Super-Sad/dp/B00E5QI7S2/ref=sr_1_3?s=collectibles&ie=UTF8&qid=1377490502&sr=1-3&keywords=sad+painting\">Michael Cole Manley\u003c/a>, this painting certainly is super sad, but the red figure in the corner reads like a tiny beam of hope in this otherwise abandoned scene.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/amazonart10.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Harris Johnson, \u003ci>Sad Movie Woman\u003c/i>, 2010\u003c/p>\n\u003cp>\u003ca href=\"http://www.amazon.com/Sad-Movie-Woman/dp/B00DONVQ94/ref=sr_1_2?s=collectibles&ie=UTF8&qid=1377490502&sr=1-2&keywords=sad+painting\">Harris Johnson\u003c/a>‘s \u003ci>Sad Movie Woman\u003c/i> is depressing in a funny way. The forlorn, cartoonish face seems to make light of \u003ca href=\"http://24.media.tumblr.com/37f1c681f5db2f76ec3e3c200bef48b4/tumblr_mfpuq5PyKN1rm1c0do1_400.gif\">ugly crying\u003c/a> and reminds me of how quickly the bellyaching switch can be flipped to laughter at any moment when the proper joke is applied.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Find more bummer art at \u003ca href=\"http://www.amazon.com/b/?node=6685269011\">Amazon.com/Art\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Still in beta, Amazon recently launched Amazon Fine Art where 150 galleries have come together to sell over 4,000 pieces of 2-dimensional works of unique collectible fine art. And it’s serious — the highest end (for the fine art department and retailer as a whole) is Norman Rockwell’s \u003ci>Willie Gillis\u003c/i>, listed at $4,850,000.00. You can also buy art for as little as $10. Between your car parts, textbooks and same-day fresh grocery delivery (sorry Bay Area, for now only in Seattle and L.A.), Amazon is literally becoming a one-stop shop that even has Walmart copying its moves online. Though Amazon presents as a retailer for the ‘everyday man,’ it has long carried luxury goods. For $112,750 (you save $92,250.00 or 45%) you can own a \u003ca href=\"http://www.amazon.com/Zenith-Xtreme-Tourbillon-Automatic-96-0528-4035-21-M528/dp/B008B9JWK6/ref=pd_sim_sbs_t_1\">Zenith Defy Xtreme Tourbillon Men’s luxury watch\u003c/a> or this \u003ca href=\"http://www.amazon.com/5-15ct-Radiant-Diamond-Engagement-Anniversary/dp/B0072MA1GM/ref=pd_rhf_ee_p_imgnr_5\">5.15 carat diamond ring\u003c/a> for $109,245. So here are five things to ponder in making fine art one-click closer to the millions of Amazon shoppers:\u003c/p>\n\u003cp>1. Do we need more middle-men? Amazon serves as a middle-man, loosely veiled as a conduit to a huge mass market, that keeps a 5-20% commission based on the price of the piece sold. This would be on top of the 50% a commercial gallery will typically keep to account for their costs in generating and facilitating sales for their artists. To be fair, a commercial gallery, unlike Amazon, traditionally does much more than sales. They support an artist’s career. In an ideal world, this is a reciprocal long-term relationship that is rooted in cultivating an artist’s practice as it grows and evolves through, yes, sales, but also by fostering institutional connections, and building a network of collectors and exhibition opportunities. It can include support with obtaining residencies, awards and other forms of funding that help the artist craft a well-balanced and productive artistic practice. In theory, a relationship with a gallery frees the artist up to make the work versus trying to ‘make it.’ Perhaps a worthy expense. But with Amazon’s cut and the gallery’s cut, prices will most likely inflate to accommodate the extra hands in the pot. To what end?\u003c/p>\n\u003cp>2. Where the ladies at? On the main page of Amazon Fine Art is a \u003ca href=\"http://www.amazon.com/s/ref=art_5pk_ArtistsYouKnow/?rh=i%3Afine-art%2Cn%3A4991425011%2Cn%3A!5148532011%2Cn%3A!5149057011%2Cn%3A7222553011%2Cn%3A6685269011&bbn=7222553011&ie=UTF8&pf_rd_p=1592857482&pf_rd_s=merchandised-search-4&pf_rd_t=101&pf_rd_i=6685269011&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=0N0WRCD98MRSQA5XGJDQ\">link for ‘artists you know’\u003c/a>. These six pages offer a select few (I counted 13 at last look) names a general audience will know — Warhol, Dali, Renoir, and Matisse, etc. Yet, there are no women artists featured in this spotlight menu. Mary Cassatt is still not fine enough?\u003c/p>\n\u003cp>3. Is this for real? Amazon Fine Art, very rarely offers provenance. Provenance refers to legit documentation authenticating the history of the piece of art. That’s how you know the $4.85 mill you drop for the Rockwell, is well, for a real Rockwell and worth that price. So what does it mean to bring fine art, which is one of the largest unregulated economies in the global market, to the people? Sure, it’s probably safe to assume the galleries using Amazon’s infrastructure as a platform to reach a wider audience, have all their paperwork in order. So though you may not see provenance displayed online, if you were to contact the gallery directly, you could probably learn more. But therein lies the problem. On one hand, having to call defies the very nature of online shopping. We’ve come to reservedly trust what we see online, part and parcel with the evolving ease of returns (see point 4, for more on this). But, no provenance also presumes that a seasoned collector will contact the gallery, or most likely bypass Amazon all together to haggle collector discounts (yes, that is a real thing) with the gallerist directly. In many ways, not displaying provenance inherently undermines the masses, as it assumes they will not be looking for the very information that legitimizes these works of art as valuable. And even worse, they should not be taught that this information isn’t important. How does one protect the life of one’s investment, or think of it as an investment, if those fundamental facts are not made as available as the price-tag at first glance?\u003c/p>\n\u003cp>4. Turn off your 1-click. That’s right folks, turn off your 1-click if you have a Prime account, in case you accidentally mistake a \u003ca href=\"http://www.amazon.com/Warhol-Marilyn-Monroe-Poster-Print/dp/B008QZIS50/ref=sr_1_10?s=home-garden&ie=UTF8&qid=1380642282&sr=1-10&keywords=andy+warhol+poster\">Warhol poster print\u003c/a> for a \u003ca href=\"http://www.amazon.com/Marilyn-Monroe-II-29/dp/B00E6HWJ5W/ref=sr_1_20?s=home-garden&ie=UTF8&qid=1380642351&sr=1-20&keywords=andy+warhol+screenprint\">Warhol screen print\u003c/a>. This is a $129,993.05 oops and Amazon’s return policies are no different for luxury and high-end goods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>5. What’s different? Hold on a second there, artists. Don’t get too excited yet because Amazon Fine Art doesn’t sell art directly from individuals, but from established galleries. So an artist still needs to obtain gallery representation. What we see is Amazon Fine Art reinforcing the secondary art market and the model that gallerists are the entry point into the commercial and professional art world. Amazon does not take the opportunity to suggest a platform for artists to take command of their own careers and build their own audiences without the high cost of working with a gallery. But why should it? It’s the world’s largest online retailer, reinventing the way we shop and consume, not necessarily the model of commerce and value itself. I mean, there is something significant about scrolling through row after row of artists you’ve never encountered distributed on an equal footing next to an Ed Ruscha, Henri Matisse or Warhol. Admittedly, Warhol would have loved this superficial democratic flattening for an audience speeding towards 100 million users. Provided you have a credit card with a multi-million dollar limit, of course.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Still in beta, Amazon recently launched Amazon Fine Art where 150 galleries have come together to sell over 4,000 pieces of 2-dimensional works of unique collectible fine art. And it’s serious — the highest end (for the fine art department and retailer as a whole) is Norman Rockwell’s \u003ci>Willie Gillis\u003c/i>, listed at $4,850,000.00. You can also buy art for as little as $10. Between your car parts, textbooks and same-day fresh grocery delivery (sorry Bay Area, for now only in Seattle and L.A.), Amazon is literally becoming a one-stop shop that even has Walmart copying its moves online. Though Amazon presents as a retailer for the ‘everyday man,’ it has long carried luxury goods. For $112,750 (you save $92,250.00 or 45%) you can own a \u003ca href=\"http://www.amazon.com/Zenith-Xtreme-Tourbillon-Automatic-96-0528-4035-21-M528/dp/B008B9JWK6/ref=pd_sim_sbs_t_1\">Zenith Defy Xtreme Tourbillon Men’s luxury watch\u003c/a> or this \u003ca href=\"http://www.amazon.com/5-15ct-Radiant-Diamond-Engagement-Anniversary/dp/B0072MA1GM/ref=pd_rhf_ee_p_imgnr_5\">5.15 carat diamond ring\u003c/a> for $109,245. So here are five things to ponder in making fine art one-click closer to the millions of Amazon shoppers:\u003c/p>\n\u003cp>1. Do we need more middle-men? Amazon serves as a middle-man, loosely veiled as a conduit to a huge mass market, that keeps a 5-20% commission based on the price of the piece sold. This would be on top of the 50% a commercial gallery will typically keep to account for their costs in generating and facilitating sales for their artists. To be fair, a commercial gallery, unlike Amazon, traditionally does much more than sales. They support an artist’s career. In an ideal world, this is a reciprocal long-term relationship that is rooted in cultivating an artist’s practice as it grows and evolves through, yes, sales, but also by fostering institutional connections, and building a network of collectors and exhibition opportunities. It can include support with obtaining residencies, awards and other forms of funding that help the artist craft a well-balanced and productive artistic practice. In theory, a relationship with a gallery frees the artist up to make the work versus trying to ‘make it.’ Perhaps a worthy expense. But with Amazon’s cut and the gallery’s cut, prices will most likely inflate to accommodate the extra hands in the pot. To what end?\u003c/p>\n\u003cp>2. Where the ladies at? On the main page of Amazon Fine Art is a \u003ca href=\"http://www.amazon.com/s/ref=art_5pk_ArtistsYouKnow/?rh=i%3Afine-art%2Cn%3A4991425011%2Cn%3A!5148532011%2Cn%3A!5149057011%2Cn%3A7222553011%2Cn%3A6685269011&bbn=7222553011&ie=UTF8&pf_rd_p=1592857482&pf_rd_s=merchandised-search-4&pf_rd_t=101&pf_rd_i=6685269011&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=0N0WRCD98MRSQA5XGJDQ\">link for ‘artists you know’\u003c/a>. These six pages offer a select few (I counted 13 at last look) names a general audience will know — Warhol, Dali, Renoir, and Matisse, etc. Yet, there are no women artists featured in this spotlight menu. Mary Cassatt is still not fine enough?\u003c/p>\n\u003cp>3. Is this for real? Amazon Fine Art, very rarely offers provenance. Provenance refers to legit documentation authenticating the history of the piece of art. That’s how you know the $4.85 mill you drop for the Rockwell, is well, for a real Rockwell and worth that price. So what does it mean to bring fine art, which is one of the largest unregulated economies in the global market, to the people? Sure, it’s probably safe to assume the galleries using Amazon’s infrastructure as a platform to reach a wider audience, have all their paperwork in order. So though you may not see provenance displayed online, if you were to contact the gallery directly, you could probably learn more. But therein lies the problem. On one hand, having to call defies the very nature of online shopping. We’ve come to reservedly trust what we see online, part and parcel with the evolving ease of returns (see point 4, for more on this). But, no provenance also presumes that a seasoned collector will contact the gallery, or most likely bypass Amazon all together to haggle collector discounts (yes, that is a real thing) with the gallerist directly. In many ways, not displaying provenance inherently undermines the masses, as it assumes they will not be looking for the very information that legitimizes these works of art as valuable. And even worse, they should not be taught that this information isn’t important. How does one protect the life of one’s investment, or think of it as an investment, if those fundamental facts are not made as available as the price-tag at first glance?\u003c/p>\n\u003cp>4. Turn off your 1-click. That’s right folks, turn off your 1-click if you have a Prime account, in case you accidentally mistake a \u003ca href=\"http://www.amazon.com/Warhol-Marilyn-Monroe-Poster-Print/dp/B008QZIS50/ref=sr_1_10?s=home-garden&ie=UTF8&qid=1380642282&sr=1-10&keywords=andy+warhol+poster\">Warhol poster print\u003c/a> for a \u003ca href=\"http://www.amazon.com/Marilyn-Monroe-II-29/dp/B00E6HWJ5W/ref=sr_1_20?s=home-garden&ie=UTF8&qid=1380642351&sr=1-20&keywords=andy+warhol+screenprint\">Warhol screen print\u003c/a>. This is a $129,993.05 oops and Amazon’s return policies are no different for luxury and high-end goods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>5. What’s different? Hold on a second there, artists. Don’t get too excited yet because Amazon Fine Art doesn’t sell art directly from individuals, but from established galleries. So an artist still needs to obtain gallery representation. What we see is Amazon Fine Art reinforcing the secondary art market and the model that gallerists are the entry point into the commercial and professional art world. Amazon does not take the opportunity to suggest a platform for artists to take command of their own careers and build their own audiences without the high cost of working with a gallery. But why should it? It’s the world’s largest online retailer, reinventing the way we shop and consume, not necessarily the model of commerce and value itself. I mean, there is something significant about scrolling through row after row of artists you’ve never encountered distributed on an equal footing next to an Ed Ruscha, Henri Matisse or Warhol. Admittedly, Warhol would have loved this superficial democratic flattening for an audience speeding towards 100 million users. Provided you have a credit card with a multi-million dollar limit, of course.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m Google, the ongoing project of Baltimore artist Dina Kelberman, is a stream of consciousness Tumblr of curated images found online. The page is a seemingly endless well of related images and with good reason, the site is essentially the aftermath of a performance: hours spent searching through Google Images, sometimes by theme but also using Google’s visually similar algorithm to find serendipitous images that take the archive in a new direction. Kelberman writes in her \u003ca href=\"http://dinakelberman.com/\">introduction to the piece\u003c/a>, “The blog came out of my natural tendency to spend long hours obsessing over Google Image searches, collecting photos I found beautiful and storing them by theme.”\u003c/p>\n\u003cp>Scrolling down, and thus backward in time, you see shot after shot of rolled out craft clay become pizza with rolling pins then a few pairs of kneading hands are sprinkled in before the image trail leads to mound after mound of bread dough then shifting, with surprising visual ease, into a series of off roading cars kicking up clouds of sand before changing again to planes trailing plumes of fire suppressant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The sets slide from theme to theme in recogniseable, incremental steps. This clarity, this simplicity, is clearly one of the driving attitudes of the piece. The mundane images become a thematic gradient. Doing away with the notion that hearing aids, doll shoes, earbuds, foam craft balls and buoys are distinct ideas. Instead fashioning them into a continuous visual spectrum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the pleasures of slowly scrolling down through the collection is that you can always see where the change came, what images lead to what like a preserved history of searching. Unlike our usual daily experience of Internet images which can be disjointed, or the path of how they were found forgotten, here the images are archived along with the route that lead to their discovery, the search is preserved alongside the search result.\u003c/p>\n\u003cp>This image of the search itself, the aesthetics of the algorithm, means the blog becomes more than just an artist’s predilection for images. It is a portrait of the software behind the work, offering a visual explanation of a familiar but dauntingly complex bit of code. (Though for a clear — if technical — explanation of how the algorithm functions, \u003ca href=\"http://www.quora.com/Algorithms/What-is-the-algorithm-used-by-Google-Search-by-Image-1\">Max Xu MengXiang’s post on Quora\u003c/a> is a great introduction for those of us that like reading explanations of math.) Visual similarity becomes the instrument I’m Google plays, including all the tendencies and quirks ingrained in it by the politics of Google.\u003c/p>\n\u003cp>This direct exploration of the formal qualities of software is an emerging interest in Internet art. In his new media studies book \u003ca href=\"http://issuu.com/bloomsburypublishing/docs/9781623566722_web\">Software Takes Command\u003c/a>, Lev Manovich argues that media — all media: television, movies, blogs, YouTube channels, podcasts, even increasingly art, all of it — has been “softwareized.” Where newspapers and television used to run on very different physical technologies, each with their own unique abilities and limitations, these days all media hail from the same homeland. Though, Manovich writes, “the computerization of media does not collapse the difference between mediums … it does bring them closer together,” which is how the lines between the organization and strict categorization by media of our cultural representations have become blurred.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From speciation to sexual orientation, neurodiversity to gender, spectrums are the hot new concept in the organization of knowledge. And I’m Google is doing just that: abandoning the limitations of the category in favor of the flexibility of the spectrum.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m Google, the ongoing project of Baltimore artist Dina Kelberman, is a stream of consciousness Tumblr of curated images found online. The page is a seemingly endless well of related images and with good reason, the site is essentially the aftermath of a performance: hours spent searching through Google Images, sometimes by theme but also using Google’s visually similar algorithm to find serendipitous images that take the archive in a new direction. Kelberman writes in her \u003ca href=\"http://dinakelberman.com/\">introduction to the piece\u003c/a>, “The blog came out of my natural tendency to spend long hours obsessing over Google Image searches, collecting photos I found beautiful and storing them by theme.”\u003c/p>\n\u003cp>Scrolling down, and thus backward in time, you see shot after shot of rolled out craft clay become pizza with rolling pins then a few pairs of kneading hands are sprinkled in before the image trail leads to mound after mound of bread dough then shifting, with surprising visual ease, into a series of off roading cars kicking up clouds of sand before changing again to planes trailing plumes of fire suppressant.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle1.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/28/imgoogle4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The sets slide from theme to theme in recogniseable, incremental steps. This clarity, this simplicity, is clearly one of the driving attitudes of the piece. The mundane images become a thematic gradient. Doing away with the notion that hearing aids, doll shoes, earbuds, foam craft balls and buoys are distinct ideas. Instead fashioning them into a continuous visual spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the pleasures of slowly scrolling down through the collection is that you can always see where the change came, what images lead to what like a preserved history of searching. Unlike our usual daily experience of Internet images which can be disjointed, or the path of how they were found forgotten, here the images are archived along with the route that lead to their discovery, the search is preserved alongside the search result.\u003c/p>\n\u003cp>This image of the search itself, the aesthetics of the algorithm, means the blog becomes more than just an artist’s predilection for images. It is a portrait of the software behind the work, offering a visual explanation of a familiar but dauntingly complex bit of code. (Though for a clear — if technical — explanation of how the algorithm functions, \u003ca href=\"http://www.quora.com/Algorithms/What-is-the-algorithm-used-by-Google-Search-by-Image-1\">Max Xu MengXiang’s post on Quora\u003c/a> is a great introduction for those of us that like reading explanations of math.) Visual similarity becomes the instrument I’m Google plays, including all the tendencies and quirks ingrained in it by the politics of Google.\u003c/p>\n\u003cp>This direct exploration of the formal qualities of software is an emerging interest in Internet art. In his new media studies book \u003ca href=\"http://issuu.com/bloomsburypublishing/docs/9781623566722_web\">Software Takes Command\u003c/a>, Lev Manovich argues that media — all media: television, movies, blogs, YouTube channels, podcasts, even increasingly art, all of it — has been “softwareized.” Where newspapers and television used to run on very different physical technologies, each with their own unique abilities and limitations, these days all media hail from the same homeland. Though, Manovich writes, “the computerization of media does not collapse the difference between mediums … it does bring them closer together,” which is how the lines between the organization and strict categorization by media of our cultural representations have become blurred.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From speciation to sexual orientation, neurodiversity to gender, spectrums are the hot new concept in the organization of knowledge. And I’m Google is doing just that: abandoning the limitations of the category in favor of the flexibility of the spectrum.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>People are pissed. The new trend that’s got everyone heated is the rise of celebrities using online crowdfunding platforms, like Kickstarter or Indiegogo, to fund their high-budget passion projects. Popular history suggests these platforms are for “the little guys,” or those left out of other funding sources, to have a place to find funds for their creative projects. And fund they do. According to Kickstarter’s website, over $798 million have been given to over 48,000 projects. Except $5,702,153 of that went to Rob Thomas’ campaign to make a \u003ci>Veronica Mars\u003c/i> movie.\u003c/p>\n\u003cp>So, I get the sentiment. Do celebrities the likes of Spike Lee or Zach Braff or James Franco really need to ask for our money (and I’m talking millions) to fund their passion or fan projects? I mean Vin Diesel just refinanced his home to fund \u003ci>Riddick\u003c/i>, so how come others can’t find ways to foot their own bills? \u003c/p>\n\u003cp>Kickstarter emphasizes “independent” projects. And therein lies one of the problems. Ultimately, Kickstarter has a financial interest in larger budget projects and gets around 5 percent from successfully funded campaigns. So, keeping the definition of independent, let’s say “open” is worth their while (cough, bottom line). So, then who is indie? On one hand, Spike Lee is a celebrity and a successful filmmaker. On the other, Lee, though high profile, has a history of self-funding, working both within and outside of the mainstream. Looking at the path of his career, he justifiably considers himself an independent filmmaker. Should his bank account, which I might add we don’t know anything about, though is presumably larger than mine or yours (no judgment), segregate him from using this populist-spirited funding source?\u003c/p>\n\u003cp>In reality, how much cash celebrities — or any of the other users — have access to has nothing to do with the legitimacy of their Kickstarter campaigns or the quality of their projects. And celebrity doesn’t guarantee they will be funded (looking at you \u003ca href=\"http://articles.latimes.com/2013/may/20/entertainment/la-et-mn-melissa-joan-hart-kickstarter-failure-20130520\">Melissa Joan Hart\u003c/a> or \u003ca href=\"http://gothamist.com/2013/06/12/icymi_zosia_mamets_kickstarter_proj.php\">Mamet sisters recent music video fail\u003c/a>). If personal finances mattered then it would also matter how much money everyone else who started a Kickstarter campaign had. You feel the slope getting slippery? And who gets to determine this sort of exclusivity? I, personally, can think of a number of projects I was invited to donate to by artists whose parents, I suspect, could probably have footed the bill. But again, that’s not the point. \u003c/p>\n\u003cp>Ironically, it’s not all about the money. Sure, with star power there also comes a social and professional economy that is paired with a public trust (and a solid dose of skepticism). Ultimately, because of their established careers they have more access to people who can, have and will continue to take financial risks on them. So could celebrities find other avenues for funding and leave online crowdfunding to the socially un-elite? Sure they could, but why would they? If it works for you, why shouldn’t it work for them?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And are high-profile campaigns really competition for the “little guy?” According to Kickstarter, the answer is no. They suggest that these celebrities actually bring new users to the system, who then go on to donate to other projects. In many ways, celebrities bring a level of legitimacy to those holding out. I mean if Sylvester Stallone is involved in a Kickstarter, then this \u003ca href=\"http://www.kickstarter.com/projects/nickscroggs/hackedpack-the-hammock-backpack?ref=live\">hammock backpack\u003c/a> or these \u003ca href=\"http://www.kickstarter.com/projects/1062502416/the-beautiful-bicycle-print\">bike prints\u003c/a> must be OK too. And is the funder who is dropping $1,000 to golf with Tom Sizemore really the same as the one funding a new quick-release flashlight or artisanal energy bar?\u003c/p>\n\u003cp>And that’s the thing, Kickstarter helps smaller projects not only get funded but, more importantly, find an audience. On the audience side, Kickstarter is rather brilliant. Sure, it’s got a built-in marketing agent for campaigners, but it does more than generate an audience. Crowdfunding offers an opportunity to not only locate and gather an audience, but for that audience to engage with the project as more than simply viewers or consumers. Crowd funders — fingers crossed — become fans.\u003c/p>\n\u003cp>Fans, unlike a more general audience, make both a social investment and take a financial stake in the work, whether that is donating what they can to a crowdfunding program or buying the director’s cut DVD, and every edition thereafter. Fans forward, retweet, and Google-stalk all aspects of the project. Fans annoy their lovers until they either become fans themselves or turn into haters. Fans embody the project and characters (hey, \u003ca href=\"http://io9.com/the-most-creative-and-sensational-cosplay-from-comic-co-873215213\">cosplay\u003c/a>). Crowdfunding inherently creates fans by giving them different levels of social investment and physical return, from swag to a credited role as Executive Producer. But celebrities, by default already have this, which is why it digs to see them using their built-in fan base to fund projects. The have-nots are more conspicuous when positioned against this ominous shadow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It may be more tacky than unethical for stars to crowdfund. But beginning to qualify and quantify who is allowed to use online crowdfunding platforms based on assumed class status or wealth is not only a slippery slope but fundamentally undermines the very nature and spirit of these activities. And ultimately, crowdfunding isn’t new. In fact, it’s been around for centuries. The online platforms we have now are new mediums facilitating this age-old practice of asking people for financial support in return for something else. Only time will tell if this method of funding has long-term staying power. So, does the celebrity presence suggest the early stages of co-opting a once grassroots org? Perhaps. What is certain is that, like crowdfunding throughout history, when this model is no longer useful the people will just create a new one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People are pissed. The new trend that’s got everyone heated is the rise of celebrities using online crowdfunding platforms, like Kickstarter or Indiegogo, to fund their high-budget passion projects. Popular history suggests these platforms are for “the little guys,” or those left out of other funding sources, to have a place to find funds for their creative projects. And fund they do. According to Kickstarter’s website, over $798 million have been given to over 48,000 projects. Except $5,702,153 of that went to Rob Thomas’ campaign to make a \u003ci>Veronica Mars\u003c/i> movie.\u003c/p>\n\u003cp>So, I get the sentiment. Do celebrities the likes of Spike Lee or Zach Braff or James Franco really need to ask for our money (and I’m talking millions) to fund their passion or fan projects? I mean Vin Diesel just refinanced his home to fund \u003ci>Riddick\u003c/i>, so how come others can’t find ways to foot their own bills? \u003c/p>\n\u003cp>Kickstarter emphasizes “independent” projects. And therein lies one of the problems. Ultimately, Kickstarter has a financial interest in larger budget projects and gets around 5 percent from successfully funded campaigns. So, keeping the definition of independent, let’s say “open” is worth their while (cough, bottom line). So, then who is indie? On one hand, Spike Lee is a celebrity and a successful filmmaker. On the other, Lee, though high profile, has a history of self-funding, working both within and outside of the mainstream. Looking at the path of his career, he justifiably considers himself an independent filmmaker. Should his bank account, which I might add we don’t know anything about, though is presumably larger than mine or yours (no judgment), segregate him from using this populist-spirited funding source?\u003c/p>\n\u003cp>In reality, how much cash celebrities — or any of the other users — have access to has nothing to do with the legitimacy of their Kickstarter campaigns or the quality of their projects. And celebrity doesn’t guarantee they will be funded (looking at you \u003ca href=\"http://articles.latimes.com/2013/may/20/entertainment/la-et-mn-melissa-joan-hart-kickstarter-failure-20130520\">Melissa Joan Hart\u003c/a> or \u003ca href=\"http://gothamist.com/2013/06/12/icymi_zosia_mamets_kickstarter_proj.php\">Mamet sisters recent music video fail\u003c/a>). If personal finances mattered then it would also matter how much money everyone else who started a Kickstarter campaign had. You feel the slope getting slippery? And who gets to determine this sort of exclusivity? I, personally, can think of a number of projects I was invited to donate to by artists whose parents, I suspect, could probably have footed the bill. But again, that’s not the point. \u003c/p>\n\u003cp>Ironically, it’s not all about the money. Sure, with star power there also comes a social and professional economy that is paired with a public trust (and a solid dose of skepticism). Ultimately, because of their established careers they have more access to people who can, have and will continue to take financial risks on them. So could celebrities find other avenues for funding and leave online crowdfunding to the socially un-elite? Sure they could, but why would they? If it works for you, why shouldn’t it work for them?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And are high-profile campaigns really competition for the “little guy?” According to Kickstarter, the answer is no. They suggest that these celebrities actually bring new users to the system, who then go on to donate to other projects. In many ways, celebrities bring a level of legitimacy to those holding out. I mean if Sylvester Stallone is involved in a Kickstarter, then this \u003ca href=\"http://www.kickstarter.com/projects/nickscroggs/hackedpack-the-hammock-backpack?ref=live\">hammock backpack\u003c/a> or these \u003ca href=\"http://www.kickstarter.com/projects/1062502416/the-beautiful-bicycle-print\">bike prints\u003c/a> must be OK too. And is the funder who is dropping $1,000 to golf with Tom Sizemore really the same as the one funding a new quick-release flashlight or artisanal energy bar?\u003c/p>\n\u003cp>And that’s the thing, Kickstarter helps smaller projects not only get funded but, more importantly, find an audience. On the audience side, Kickstarter is rather brilliant. Sure, it’s got a built-in marketing agent for campaigners, but it does more than generate an audience. Crowdfunding offers an opportunity to not only locate and gather an audience, but for that audience to engage with the project as more than simply viewers or consumers. Crowd funders — fingers crossed — become fans.\u003c/p>\n\u003cp>Fans, unlike a more general audience, make both a social investment and take a financial stake in the work, whether that is donating what they can to a crowdfunding program or buying the director’s cut DVD, and every edition thereafter. Fans forward, retweet, and Google-stalk all aspects of the project. Fans annoy their lovers until they either become fans themselves or turn into haters. Fans embody the project and characters (hey, \u003ca href=\"http://io9.com/the-most-creative-and-sensational-cosplay-from-comic-co-873215213\">cosplay\u003c/a>). Crowdfunding inherently creates fans by giving them different levels of social investment and physical return, from swag to a credited role as Executive Producer. But celebrities, by default already have this, which is why it digs to see them using their built-in fan base to fund projects. The have-nots are more conspicuous when positioned against this ominous shadow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It may be more tacky than unethical for stars to crowdfund. But beginning to qualify and quantify who is allowed to use online crowdfunding platforms based on assumed class status or wealth is not only a slippery slope but fundamentally undermines the very nature and spirit of these activities. And ultimately, crowdfunding isn’t new. In fact, it’s been around for centuries. The online platforms we have now are new mediums facilitating this age-old practice of asking people for financial support in return for something else. Only time will tell if this method of funding has long-term staying power. So, does the celebrity presence suggest the early stages of co-opting a once grassroots org? Perhaps. What is certain is that, like crowdfunding throughout history, when this model is no longer useful the people will just create a new one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cloaque is a unique Tumblr/gallery bringing together the work of various net artists in an overlapping milieu of images. Unlike many online galleries featuring distinct works, each post on Cloaque is tailored specifically to the site and interwoven with the work of the previous featured artists.\u003c/p>\n\u003cp>The staring faces of Daniel Littlewood’s \u003ci>Self Portrait 2.0\u003c/i> greeted me on my August 26 visit, like the selfies of an eyeless digital mannequin, facial expressions, disgust, shock, amusement, just visible under their mottled, chrome or transparent skin. Near the bottom of \u003ci>Self Portrait 2.0\u003c/i> the faces crowd together, their copy and paste identity evident on each individual face. The heads of shiny porcelain-looking dogs take over as we transition to Lorna Mills’ \u003ci>The Axis of Something Else\u003c/i>.\u003c/p>\n\u003cp>Mills’ section is a junk drawer of tchotchkes, ceramic figures of every kind of dog, howling wolves, creeping jaguars, birds, elephants, monkeys, rabbits, whales and shapes indistinguishable. The color, texture and loose puzzle of it all sneaks the manic lure of collecting, maybe even hoarding, in between the crowded objects. But Mills seems to be collecting something other than these earthenware snouts. Perhaps her interest lies in the harsh, multifaceted highlights that curve over their lacquered bodies, where the white studio light is refracted into rainbows.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/20/cloaque3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Lorna Mills, \u003ci>The Axis of Something Else\u003c/i>, Cloaque\u003cbr>\u003c/center>\n\u003cp>Keep scrolling and \u003ci>The Axis of Something Else\u003c/i> fades into \u003ci>Mutated Chains\u003c/i> by Andreas Ervik, an airy warping still life of flower petals and spilled paint. Scroll further down into the glitchy pixelation of Jaakko Pallasvuo’s \u003ci>Diamonds\u003c/i>. Somewhere deeper in the heap \u003ci>Surface Survey\u003c/i> by Clement Valla scatters the photographic equivalent of pottery shards over the surface of the page, broken up sculptures of long ago civilizations from India to the Americas. The blank eyes of ancient Buddhas now distinctly recalling the figures in \u003ci>Self Portrait 2.0\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/20/cloaque4.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Clement Valla, \u003ci>Surface Survey\u003c/i>, Cloaque\u003cbr>\u003c/center>\n\u003cp>And that is what makes this project special. It’s not just a waterfall of disparate images, but a huge interwoven whole. As the site’s description reads “Cloaque works like a digital landfill. It is the result of the collection, treatment and joining together of a series of images found online to create a column of digital compost.” Digital landfill it may be, but the site has a more intimate relationship to the scroll bar than just some data dump. Because the page is full of high resolution images, moving gifs, and even embedded videos, the scrolling starts smooth but soon resists your urge to speed through section after section. Instead, with every attempt to scroll, the page jolts upward as the browser attempts to keep track of and render the long stream of images. But even with the jerky advances, much like scrolling down through your bottomless Twitter feed, Cloaque feels endless, artists’ sections slowly bleeding into one another as more layers are added to the pile. The cycle continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://cloaque.org/\">Visit Claoque online\u003c/a> at cloague.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cloaque is a unique Tumblr/gallery bringing together the work of various net artists in an overlapping milieu of images. Unlike many online galleries featuring distinct works, each post on Cloaque is tailored specifically to the site and interwoven with the work of the previous featured artists.\u003c/p>\n\u003cp>The staring faces of Daniel Littlewood’s \u003ci>Self Portrait 2.0\u003c/i> greeted me on my August 26 visit, like the selfies of an eyeless digital mannequin, facial expressions, disgust, shock, amusement, just visible under their mottled, chrome or transparent skin. Near the bottom of \u003ci>Self Portrait 2.0\u003c/i> the faces crowd together, their copy and paste identity evident on each individual face. The heads of shiny porcelain-looking dogs take over as we transition to Lorna Mills’ \u003ci>The Axis of Something Else\u003c/i>.\u003c/p>\n\u003cp>Mills’ section is a junk drawer of tchotchkes, ceramic figures of every kind of dog, howling wolves, creeping jaguars, birds, elephants, monkeys, rabbits, whales and shapes indistinguishable. The color, texture and loose puzzle of it all sneaks the manic lure of collecting, maybe even hoarding, in between the crowded objects. But Mills seems to be collecting something other than these earthenware snouts. Perhaps her interest lies in the harsh, multifaceted highlights that curve over their lacquered bodies, where the white studio light is refracted into rainbows.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/09/20/cloaque3.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>Lorna Mills, \u003ci>The Axis of Something Else\u003c/i>, Cloaque\u003cbr>\u003c/center>\n\u003cp>Keep scrolling and \u003ci>The Axis of Something Else\u003c/i> fades into \u003ci>Mutated Chains\u003c/i> by Andreas Ervik, an airy warping still life of flower petals and spilled paint. Scroll further down into the glitchy pixelation of Jaakko Pallasvuo’s \u003ci>Diamonds\u003c/i>. Somewhere deeper in the heap \u003ci>Surface Survey\u003c/i> by Clement Valla scatters the photographic equivalent of pottery shards over the surface of the page, broken up sculptures of long ago civilizations from India to the Americas. The blank eyes of ancient Buddhas now distinctly recalling the figures in \u003ci>Self Portrait 2.0\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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