window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10127487": {
"type": "attachments",
"id": "arts_10127487",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127487",
"found": true
},
"parent": 127487,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/todayin63-6404-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/todayin63-6404.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/todayin63-6404-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/todayin63-6404-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1382479274,
"modified": 1382479274,
"caption": null,
"description": null,
"title": "@TodayIn1963: Tweeting History's Present-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10127401": {
"type": "attachments",
"id": "arts_10127401",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127401",
"found": true
},
"parent": 127401,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/newyorkercartoon3604-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/newyorkercartoon3604.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/newyorkercartoon3604-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/newyorkercartoon3604-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1382388660,
"modified": 1382388660,
"caption": null,
"description": null,
"title": "Why The New Yorker's Caption Contest Is So Inconsistent-\u003ca href=\"http://www.newyorker.com/online/blogs/cartoonists/2012/07/seinfeld-episode-about-new-yorker-cartoons.html?mbid=social_retweet\">The infamous Seinfeld New Yorker cartoon\u003c/a>.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10127361": {
"type": "attachments",
"id": "arts_10127361",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127361",
"found": true
},
"parent": 127361,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/roderickontheline360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1382287295,
"modified": 1382287295,
"caption": null,
"description": null,
"title": "Podcast Friends Forever: Roderick on the Line-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10127107": {
"type": "attachments",
"id": "arts_10127107",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10127107",
"found": true
},
"parent": 127107,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/nightvale-3606-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/nightvale-3606.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/nightvale-3606-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/nightvale-3606-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1381885765,
"modified": 1381885765,
"caption": null,
"description": null,
"title": "A Weird and Wild 'Welcome to Night Vale'-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126776": {
"type": "attachments",
"id": "arts_10126776",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126776",
"found": true
},
"parent": 126776,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart-3604-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart-3604.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart-3604-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart-3604-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1381178297,
"modified": 1381178297,
"caption": null,
"description": null,
"title": "Ten Melancholy Paintings on Amazon Art-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126654": {
"type": "attachments",
"id": "arts_10126654",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126654",
"found": true
},
"parent": 126654,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/10/amazonart360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1380916974,
"modified": 1380916974,
"caption": null,
"description": null,
"title": "Amazon Fine Art, Not as Fine as it Looks?-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126442": {
"type": "attachments",
"id": "arts_10126442",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126442",
"found": true
},
"parent": 126442,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-640x576.jpg",
"width": 640,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-400x400.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 400
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-640x372.jpg",
"width": 640,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640.jpg",
"width": 640,
"height": 640
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-300x300.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 300
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/imgoogle640x640-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1380396918,
"modified": 1380396918,
"caption": null,
"description": null,
"title": "Aesthetics of an Algorithm: I'm Google-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126419": {
"type": "attachments",
"id": "arts_10126419",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126419",
"found": true
},
"parent": 126419,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/kickstarterindiegogo360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1380305921,
"modified": 1380305921,
"caption": null,
"description": null,
"title": "It's Not About the Money: Kickstarter and Celebrity Campaigns-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10126172": {
"type": "attachments",
"id": "arts_10126172",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10126172",
"found": true
},
"parent": 126172,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/09/cloaque360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1379705582,
"modified": 1379705582,
"caption": null,
"description": null,
"title": "Excavating the Digital Landfill with Cloaque-Daniel Littlewood, \u003ci>Self Portrait 2.0\u003c/i>, Cloaque",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10125109": {
"type": "attachments",
"id": "arts_10125109",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10125109",
"found": true
},
"parent": 125109,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/absolut3605-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/absolut3605.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/absolut3605-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/absolut3605-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1377471553,
"modified": 1377471553,
"caption": null,
"description": null,
"title": "A Creative Commons Brought to You by...-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10125068": {
"type": "attachments",
"id": "arts_10125068",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10125068",
"found": true
},
"parent": 125068,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/hateplow360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1377287970,
"modified": 1377287970,
"caption": null,
"description": null,
"title": "Net Artist Asks What's Real in Online Images-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10124215": {
"type": "attachments",
"id": "arts_10124215",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10124215",
"found": true
},
"parent": 124215,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/08/wheezy-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1375651647,
"modified": 1375651647,
"caption": null,
"description": null,
"title": "The Wonders of 'Wheezy Waiter'-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"128435": {
"type": "authors",
"id": "128435",
"meta": {
"override": true
},
"slug": "128435",
"name": "Jonathan Curiel",
"firstName": "Jonathan",
"lastName": "Curiel",
"bio": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
"email": "jonathancuriel@hotmail.com",
"isLoading": false
},
"kfarr": {
"type": "authors",
"id": "16",
"meta": {
"index": "authors_1716337520",
"id": "16",
"found": true
},
"name": "Kristin Farr",
"firstName": "Kristin",
"lastName": "Farr",
"slug": "kfarr",
"email": "kfarr@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Kristin Farr is the creator and producer of KQED's Emmy Award-winning web video series, Art School, and she is also a contributing editor for Juxtapoz magazine. Her artwork has been exhibited at galleries around the Bay Area including YBCA, Fifty24SF, Anno Domini and The Bedford Gallery. Her FarrOut art app for iOS was released in 2013. She lives in the East Bay and her favorite color is all of them.",
"avatar": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twitter": "kristinfarr",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kristin Farr | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96aae7842c46004b98e00051e9e0d71f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kfarr"
},
"ablaine": {
"type": "authors",
"id": "72",
"meta": {
"index": "authors_1716337520",
"id": "72",
"found": true
},
"name": "Adrienne Blaine",
"firstName": "Adrienne",
"lastName": "Blaine",
"slug": "ablaine",
"email": "adrienneblaine@hotmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Adrienne Blaine is a Millennial writer from the South Bay. She has a BA in Comparative Literary and Cultural Studies combined with Communications and Media Studies from Franklin University Switzerland. Living in Switzerland for four years and traveling from Morocco to Iceland introduced her to diverse art, culture and food. She currently lives in San Francisco and writes about these topics.",
"avatar": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Adrienne Blaine | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ablaine"
},
"eeifler": {
"type": "authors",
"id": "75",
"meta": {
"index": "authors_1716337520",
"id": "75",
"found": true
},
"name": "Emily Eifler",
"firstName": "Emily",
"lastName": "Eifler",
"slug": "eeifler",
"email": "emilyeifler@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Emily is a writer and Youtuber covering the intersection of technology and culture. She works as the Immersive Media Producer at CDG and makes \u003ca href=\"https://www.youtube.com/user/BlinkPopShift\">BlinkPopShift, an art and technology YouTube channel. \u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/cc8702d23c82279c5ad9a031a5942dae?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Emily Eifler | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/cc8702d23c82279c5ad9a031a5942dae?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/cc8702d23c82279c5ad9a031a5942dae?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/eeifler"
},
"ghelfand": {
"type": "authors",
"id": "79",
"meta": {
"index": "authors_1716337520",
"id": "79",
"found": true
},
"name": "Glen Helfand",
"firstName": "Glen",
"lastName": "Helfand",
"slug": "ghelfand",
"email": "glenhelfand@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Glen Helfand's writing has appeared in \u003ci>Artforum\u003c/i> and at \u003ca href=\"http://artforum.com/\">Artforum.com\u003c/a>, and he's contributed to the \u003ci>San Francisco Bay Guardian\u003c/i>, \u003ca href=\"http://www.blouinartinfo.com/\">ArtInfo.com\u003c/a>, and many other periodicals and exhibition catalogs.He's a Senior Adjunct professor at California College of the Arts, where he teaches courses on contemporary art. He also teaches in the graduate and undergraduate art programs at Mills College, and at the San Francisco Art Institute where he organizes the \u003ca href=\"http://www.sfai.edu/events-by-category/public/visiting-artists-and-scholars-lecture-series\">Visiting Artists and Scholars Lecture Series\u003c/a>.He has curated exhibitions for the De Young Museum, San Francisco; the San Jose Museum of Art; the Pasadena Museum of California Art, Pasadena; Rena Bransten Gallery, San Francisco; Dust Gallery, Las Vegas; and the Mills College Art Museum, Oakland. His most recent curatorial projects include \u003cb>Temporary Structures\u003c/b>, at the Walter and McBean Galleries, San Francisco Art Institute; \u003cb>Fabricators\u003c/b>, a collaboration with Creativity Explored, at Jack Fischer Gallery, San Francisco, and \u003cb>Proximities\u003c/b>, a series of three exhibitions at the Asian Art Museum of San Francisco, which will appear through February 2014.",
"avatar": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Glen Helfand | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d4af86d417087217dd9f10a7e450ba6c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ghelfand"
},
"mcarlson": {
"type": "authors",
"id": "83",
"meta": {
"index": "authors_1716337520",
"id": "83",
"found": true
},
"name": "Michele Carlson",
"firstName": "Michele",
"lastName": "Carlson",
"slug": "mcarlson",
"email": "info@michelecarlson.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Michele Carlson is a practicing artist, writer, educator, and curator in the SF Bay Area who spends most of her time thinking and writing about art, television and digital culture. She is also the Managing Editor at \u003cem>Hyphen \u003c/em>and is an Adjunct Professor at California College of the Arts.",
"avatar": "https://secure.gravatar.com/avatar/b84640adae2bd6c766366afa4dfb7630?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Michele Carlson | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/b84640adae2bd6c766366afa4dfb7630?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/b84640adae2bd6c766366afa4dfb7630?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mcarlson"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.408827
},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"title": "Pop Culture",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 239
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 239
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_127487": {
"type": "posts",
"id": "arts_127487",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127487",
"score": null,
"sort": [
1382479274000
]
},
"guestAuthors": [],
"slug": "tweeting_historys_present",
"title": "@TodayIn1963: Tweeting History's Present",
"publishDate": 1382479274,
"format": "standard",
"headTitle": "@TodayIn1963: Tweeting History’s Present | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "The events of 50 years ago unfold in tweets today.",
"status": "publish",
"parent": 0,
"modified": 1726771496,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 886
},
"headData": {
"title": "@TodayIn1963: Tweeting History's Present | KQED",
"description": "The events of 50 years ago unfold in tweets today.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "@TodayIn1963: Tweeting History's Present",
"datePublished": "2013-10-22T15:01:14-07:00",
"dateModified": "2024-09-19T11:44:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/127487/tweeting_historys_present",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127487/tweeting_historys_present",
"authors": [
"83"
],
"categories": [
"arts_75"
],
"featImg": "arts_10127487",
"label": "arts"
},
"arts_127401": {
"type": "posts",
"id": "arts_127401",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127401",
"score": null,
"sort": [
1382385060000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1382385060,
"format": "standard",
"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",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1636,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705049639,
"excerpt": "Cartoon editor Robert Mankoff admits his magazine's competition is far from perfect.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Cartoon editor Robert Mankoff admits his magazine's competition is far from perfect.",
"title": "Why The New Yorker's Caption Contest Is So Inconsistent | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why The New Yorker's Caption Contest Is So Inconsistent",
"datePublished": "2013-10-21T12:51:00-07:00",
"dateModified": "2024-01-12T00:53:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [
{
"userLogin": "jonathan-curiel",
"firstName": "Jonathan",
"lastName": "Curiel",
"website": "",
"displayName": "Jonathan Curiel",
"linkedAccount": "jcuriel",
"nickname": "",
"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
"userEmail": "jonathancuriel@hotmail.com",
"ID": "128435",
"type": "guest-author",
"userNicename": "jonathan-curiel"
}
],
"slug": "why_the_new_yorkers_caption_contest_is_so_inconsistent",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-popculture/",
"sticky": false,
"path": "/arts/127401/why_the_new_yorkers_caption_contest_is_so_inconsistent",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, \u003ci>that\u003c/i> is a funny caption.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127401/why_the_new_yorkers_caption_contest_is_so_inconsistent",
"authors": [
"128435"
],
"categories": [
"arts_75"
],
"featImg": "arts_10127401",
"label": "arts"
},
"arts_127361": {
"type": "posts",
"id": "arts_127361",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127361",
"score": null,
"sort": [
1382287295000
]
},
"guestAuthors": [],
"slug": "podcast_friends_forever_roderick_on_the_line",
"title": "Podcast Friends Forever: Roderick on the Line",
"publishDate": 1382287295,
"format": "standard",
"headTitle": "Podcast Friends Forever: Roderick on the Line | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "San Francisco tech guru Merlin Mann and Seattle-based musician John Roderick resurrect the lost art of telephone banter, turning a weekly Skype call into the podcast \u003ci>Roderick on the Line\u003c/i>.",
"status": "publish",
"parent": 0,
"modified": 1726771497,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 836
},
"headData": {
"title": "Podcast Friends Forever: Roderick on the Line | KQED",
"description": "San Francisco tech guru Merlin Mann and Seattle-based musician John Roderick resurrect the lost art of telephone banter, turning a weekly Skype call into the podcast Roderick on the Line.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Podcast Friends Forever: Roderick on the Line",
"datePublished": "2013-10-20T09:41:35-07:00",
"dateModified": "2024-09-19T11:44:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/127361/podcast_friends_forever_roderick_on_the_line",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127361/podcast_friends_forever_roderick_on_the_line",
"authors": [
"72"
],
"categories": [
"arts_75"
],
"featImg": "arts_10127361",
"label": "arts"
},
"arts_127107": {
"type": "posts",
"id": "arts_127107",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "127107",
"score": null,
"sort": [
1381885765000
]
},
"guestAuthors": [],
"slug": "a_weird_and_wild_welcome_to_night_vale",
"title": "A Weird and Wild 'Welcome to Night Vale'",
"publishDate": 1381885765,
"format": "standard",
"headTitle": "A Weird and Wild ‘Welcome to Night Vale’ | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Written in the style of a community radio broadcast, and produced like an old-fashioned radio serial, \u003ci>Welcome to Night Vale\u003c/i> is a show about the strange goings on in a small desert town -- and is wonderfully at odds with our eyeball-centric culture.",
"status": "publish",
"parent": 0,
"modified": 1726771498,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 672
},
"headData": {
"title": "A Weird and Wild 'Welcome to Night Vale' | KQED",
"description": "Written in the style of a community radio broadcast, and produced like an old-fashioned radio serial, Welcome to Night Vale is a show about the strange goings on in a small desert town -- and is wonderfully at odds with our eyeball-centric culture.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Weird and Wild 'Welcome to Night Vale'",
"datePublished": "2013-10-15T18:09:25-07:00",
"dateModified": "2024-09-19T11:44:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/127107/a_weird_and_wild_welcome_to_night_vale",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/127107/a_weird_and_wild_welcome_to_night_vale",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10127107",
"label": "arts"
},
"arts_126776": {
"type": "posts",
"id": "arts_126776",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126776",
"score": null,
"sort": [
1381178297000
]
},
"guestAuthors": [],
"slug": "ten_melancholy_paintings_on_amazon_art",
"title": "Ten Melancholy Paintings on Amazon Art",
"publishDate": 1381178297,
"format": "standard",
"headTitle": "Ten Melancholy Paintings on Amazon Art | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "A subjective list of the most bummer artworks currently available on Amazon Art.",
"status": "publish",
"parent": 0,
"modified": 1726771499,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 827
},
"headData": {
"title": "Ten Melancholy Paintings on Amazon Art | KQED",
"description": "A subjective list of the most bummer artworks currently available on Amazon Art.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ten Melancholy Paintings on Amazon Art",
"datePublished": "2013-10-07T13:38:17-07:00",
"dateModified": "2024-09-19T11:44:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/126776/ten_melancholy_paintings_on_amazon_art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126776/ten_melancholy_paintings_on_amazon_art",
"authors": [
"16"
],
"categories": [
"arts_75"
],
"featImg": "arts_10126776",
"label": "arts"
},
"arts_126654": {
"type": "posts",
"id": "arts_126654",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126654",
"score": null,
"sort": [
1380916974000
]
},
"guestAuthors": [],
"slug": "amazon_fine_art_not_as_fine_as_it_looks",
"title": "Amazon Fine Art, Not as Fine as it Looks?",
"publishDate": 1380916974,
"format": "standard",
"headTitle": "Amazon Fine Art, Not as Fine as it Looks? | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Five things to ponder about making fine art one-click closer to millions of Amazon shoppers.",
"status": "publish",
"parent": 0,
"modified": 1726771501,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 996
},
"headData": {
"title": "Amazon Fine Art, Not as Fine as it Looks? | KQED",
"description": "Five things to ponder about making fine art one-click closer to millions of Amazon shoppers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Amazon Fine Art, Not as Fine as it Looks?",
"datePublished": "2013-10-04T13:02:54-07:00",
"dateModified": "2024-09-19T11:45:01-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/126654/amazon_fine_art_not_as_fine_as_it_looks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126654/amazon_fine_art_not_as_fine_as_it_looks",
"authors": [
"83"
],
"categories": [
"arts_75"
],
"featImg": "arts_10126654",
"label": "arts"
},
"arts_126442": {
"type": "posts",
"id": "arts_126442",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126442",
"score": null,
"sort": [
1380396918000
]
},
"guestAuthors": [],
"slug": "aesthetics_of_an_algorithm_im_google",
"title": "Aesthetics of an Algorithm: I'm Google",
"publishDate": 1380396918,
"format": "standard",
"headTitle": "Aesthetics of an Algorithm: I’m Google | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "I'm Google, the ongoing project of Baltimore artist Dina Kelberman, is a stream of consciousness Tumblr of curated images found online -- and so much more.",
"status": "publish",
"parent": 0,
"modified": 1726771502,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 594
},
"headData": {
"title": "Aesthetics of an Algorithm: I'm Google | KQED",
"description": "I'm Google, the ongoing project of Baltimore artist Dina Kelberman, is a stream of consciousness Tumblr of curated images found online -- and so much more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Aesthetics of an Algorithm: I'm Google",
"datePublished": "2013-09-28T12:35:18-07:00",
"dateModified": "2024-09-19T11:45:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/126442/aesthetics_of_an_algorithm_im_google",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126442/aesthetics_of_an_algorithm_im_google",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10126442",
"label": "arts"
},
"arts_126419": {
"type": "posts",
"id": "arts_126419",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126419",
"score": null,
"sort": [
1380305921000
]
},
"guestAuthors": [],
"slug": "its_not_about_the_money_kickstarter_and_celebrity_campaigns",
"title": "It's Not About the Money: Kickstarter and Celebrity Campaigns",
"publishDate": 1380305921,
"format": "standard",
"headTitle": "It’s Not About the Money: Kickstarter and Celebrity Campaigns | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "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.",
"status": "publish",
"parent": 0,
"modified": 1726771503,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 997
},
"headData": {
"title": "It's Not About the Money: Kickstarter and Celebrity Campaigns | KQED",
"description": "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.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's Not About the Money: Kickstarter and Celebrity Campaigns",
"datePublished": "2013-09-27T11:18:41-07:00",
"dateModified": "2024-09-19T11:45:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/126419/its_not_about_the_money_kickstarter_and_celebrity_campaigns",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126419/its_not_about_the_money_kickstarter_and_celebrity_campaigns",
"authors": [
"83"
],
"categories": [
"arts_75"
],
"featImg": "arts_10126419",
"label": "arts"
},
"arts_126172": {
"type": "posts",
"id": "arts_126172",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "126172",
"score": null,
"sort": [
1379705582000
]
},
"guestAuthors": [],
"slug": "excavating_the_digital_landfill_with_cloaque",
"title": "Excavating the Digital Landfill with Cloaque",
"publishDate": 1379705582,
"format": "standard",
"headTitle": "Excavating the Digital Landfill with Cloaque | KQED",
"labelTerm": {
"site": "arts"
},
"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",
"blocks": [],
"excerpt": "Seemingly endless streams of online images come together on Cloaque.",
"status": "publish",
"parent": 0,
"modified": 1726771506,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 503
},
"headData": {
"title": "Excavating the Digital Landfill with Cloaque | KQED",
"description": "Seemingly endless streams of online images come together on Cloaque.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Excavating the Digital Landfill with Cloaque",
"datePublished": "2013-09-20T12:33:02-07:00",
"dateModified": "2024-09-19T11:45:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/126172/excavating_the_digital_landfill_with_cloaque",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"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>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/126172/excavating_the_digital_landfill_with_cloaque",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10126172",
"label": "arts"
},
"arts_125109": {
"type": "posts",
"id": "arts_125109",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "125109",
"score": null,
"sort": [
1377467953000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1377467953,
"format": "standard",
"title": "A Creative Commons Brought to You by...",
"headTitle": "A Creative Commons Brought to You by… | KQED",
"content": "\u003cp>Last Saturday the 600 block of Divisadero — past a burgeoning Western Addition gourmet ghetto — became a temporary theater of creative endeavor. In addition to the usual cafe throngs, artists were at work on whitewashed walls, a cherry picker lift beeped while mounting a giant blue photograph on the face of a building, and pedestrian spectators milled about, snapping pics of the action with cell phones. It was a 21st-century plein air art spectacle, with boozy marketing might — the event sponsored by art-friendly, all-caps vodka brand ABSOLUT.\u003c/p>\n\u003cp>\u003cb>Open Canvas\u003c/b>, as it’s dubbed, entailed the company renting storefronts and exterior walls. Nineteen artists, most curated and from New York and LA, one the local winner of a submission contest, were provided with this temporary venue — it’ll be up for a week or so (marketing materials are unclear about dates). The Saturday afternoon launch was less about finished works than revealing the creative act publicly. Alicia McCarthy was deeply focused on a colorful abstract mural of woven painted lines being realized with a group of friends, while Los Angeles-based artist Henry Taylor got a temporary portrait studio in a side street garage, the fresh paintings collecting on the wall (he maintained ownership, FYI). Matthew McGrath and friends were installing a vertical garden on the façade of an auto shop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Matthew McGrath installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Benjamin Sherry installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>Public art was once most associated with civic organizations, a publicly-funded official city imperative to beautify and honor. But as the art world faces the ominous possibility that the stellar public art collection of the Detroit Institute of the Arts will potentially be auctioned off to support city coffers, the equation shifts — the private sector’s support of art has an increasingly powerful role in shaping urban life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You could, cynically view \u003cb>Open Canvas\u003c/b> as a marketing-driven petting zoo, turning the artists’ practices into an entertainment. Yet the experience was convivial. It wasn’t crassly branded with swag or blaring evidence of hard liquor (though there certainly was at the evening soirees, inside restaurants and clubs). Other than a tasteful billboard above the former BBQ restaurant (lost to eviction), and some signage in their signature typeface, this did seem to be a sunny, art-centric event. Most of the artists I spoke with felt well-treated, well-fed, and well-documented by the producers. As I chatted with Jenny Sharaf, who won the submission contest (a cash prize and prime wall space), cameras swarmed. “It’s like a reality show,” she said, like that short-lived Bravo production, \u003ci>Work of Art\u003c/i>. The cameras weren’t a deterrent; she was thrilled with the level of support.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Henry Taylor’s temporary studio wall; photo: Glen Helfand\u003c/p>\n\u003cp>Viewers were pleased, too. In Taylor’s makeshift studio a beaming Brazilian woman admitted she turned down a trip to Napa to be here. Neighborhood kids pitched in on projects, a Warby Parker-wearing bicyclist pulled over to inspect Polish-born New Yorker Olek’s knitted dollar sign composition, perhaps the most critical piece on view.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Olek’s crocheted work reads “$$$-Won’t-heart-You-Back”; photo: Deborah Svoboda\u003c/p>\n\u003cp>The investment in art here is made by private sources, not a cash-strapped municipality. The \u003ca href=\"http://www.absolut.com/us/opencanvas/\">project website rhetoric\u003c/a> couches it in inspirational terms: “With the ABSOLUT \u003cb>Open Canvas\u003c/b> initiative, ABSOLUT empowers an extraordinary group of contemporary artists to transform an unlikely setting — the street & structure of a normal city block — into an interactive outdoor art exhibition. A reminder that we can all transform our present and future if we adapt a daring spirit and use creativity to stretch everyday reality from the mundane to the extraordinary — TRANSFORM TODAY.”\u003c/p>\n\u003cp>There’s more than a little irony there, as the transformation is less visionary than economic. The neighborhood itself is in transformation, the buildings highlighted as real estate; what will become of that old deco theater/church? Art is an agent, a pattern imprinted, ephemerally, on “a normal city block” where tony restaurants and Etsy-infuenced shops show up regularly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so do events like this. Earlier in the week, ShockTop Belgian Ale, part of the Anheuser-Busch family, threw a SOMA street party for a \u003ca href=\"http://www.photobernalist.com/shock-top-san-francisco-billboard-by-stan-herd.html\">handmade billboard made of the beer’s ingredients\u003c/a>, while in late September, Levi’s traveling “public art project” \u003ca href=\"http://stationtostation.com/\">\u003cb>Station to Station\u003c/b>\u003c/a> will pull into an Oakland train station with “nomadic sculptures” by Urs Fischer, Kenneth Anger, Ernesto Neto, Carsten HÖller, and Liz Glynn. Exciting prospects all, though the implications of each are open to interpretation.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 806,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705049757,
"excerpt": "Last Saturday the 600 block of Divisadero became a temporary theater of creative endeavor, a 21st-century plein air art spectacle, with boozy marketing might -- the event sponsored by art-friendly, all-caps vodka brand ABSOLUT.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Last Saturday the 600 block of Divisadero became a temporary theater of creative endeavor, a 21st-century plein air art spectacle, with boozy marketing might -- the event sponsored by art-friendly, all-caps vodka brand ABSOLUT.",
"title": "A Creative Commons Brought to You by... | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Creative Commons Brought to You by...",
"datePublished": "2013-08-25T14:59:13-07:00",
"dateModified": "2024-01-12T00:55:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a_creative_commons_brought_to_you_by",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-popculture/",
"sticky": false,
"path": "/arts/125109/a_creative_commons_brought_to_you_by",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Saturday the 600 block of Divisadero — past a burgeoning Western Addition gourmet ghetto — became a temporary theater of creative endeavor. In addition to the usual cafe throngs, artists were at work on whitewashed walls, a cherry picker lift beeped while mounting a giant blue photograph on the face of a building, and pedestrian spectators milled about, snapping pics of the action with cell phones. It was a 21st-century plein air art spectacle, with boozy marketing might — the event sponsored by art-friendly, all-caps vodka brand ABSOLUT.\u003c/p>\n\u003cp>\u003cb>Open Canvas\u003c/b>, as it’s dubbed, entailed the company renting storefronts and exterior walls. Nineteen artists, most curated and from New York and LA, one the local winner of a submission contest, were provided with this temporary venue — it’ll be up for a week or so (marketing materials are unclear about dates). The Saturday afternoon launch was less about finished works than revealing the creative act publicly. Alicia McCarthy was deeply focused on a colorful abstract mural of woven painted lines being realized with a group of friends, while Los Angeles-based artist Henry Taylor got a temporary portrait studio in a side street garage, the fresh paintings collecting on the wall (he maintained ownership, FYI). Matthew McGrath and friends were installing a vertical garden on the façade of an auto shop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Matthew McGrath installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>David Benjamin Sherry installing; photo: Deborah Svoboda\u003c/p>\n\u003cp>Public art was once most associated with civic organizations, a publicly-funded official city imperative to beautify and honor. But as the art world faces the ominous possibility that the stellar public art collection of the Detroit Institute of the Arts will potentially be auctioned off to support city coffers, the equation shifts — the private sector’s support of art has an increasingly powerful role in shaping urban life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You could, cynically view \u003cb>Open Canvas\u003c/b> as a marketing-driven petting zoo, turning the artists’ practices into an entertainment. Yet the experience was convivial. It wasn’t crassly branded with swag or blaring evidence of hard liquor (though there certainly was at the evening soirees, inside restaurants and clubs). Other than a tasteful billboard above the former BBQ restaurant (lost to eviction), and some signage in their signature typeface, this did seem to be a sunny, art-centric event. Most of the artists I spoke with felt well-treated, well-fed, and well-documented by the producers. As I chatted with Jenny Sharaf, who won the submission contest (a cash prize and prime wall space), cameras swarmed. “It’s like a reality show,” she said, like that short-lived Bravo production, \u003ci>Work of Art\u003c/i>. The cameras weren’t a deterrent; she was thrilled with the level of support.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Henry Taylor’s temporary studio wall; photo: Glen Helfand\u003c/p>\n\u003cp>Viewers were pleased, too. In Taylor’s makeshift studio a beaming Brazilian woman admitted she turned down a trip to Napa to be here. Neighborhood kids pitched in on projects, a Warby Parker-wearing bicyclist pulled over to inspect Polish-born New Yorker Olek’s knitted dollar sign composition, perhaps the most critical piece on view.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/08/25/absolut3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Olek’s crocheted work reads “$$$-Won’t-heart-You-Back”; photo: Deborah Svoboda\u003c/p>\n\u003cp>The investment in art here is made by private sources, not a cash-strapped municipality. The \u003ca href=\"http://www.absolut.com/us/opencanvas/\">project website rhetoric\u003c/a> couches it in inspirational terms: “With the ABSOLUT \u003cb>Open Canvas\u003c/b> initiative, ABSOLUT empowers an extraordinary group of contemporary artists to transform an unlikely setting — the street & structure of a normal city block — into an interactive outdoor art exhibition. A reminder that we can all transform our present and future if we adapt a daring spirit and use creativity to stretch everyday reality from the mundane to the extraordinary — TRANSFORM TODAY.”\u003c/p>\n\u003cp>There’s more than a little irony there, as the transformation is less visionary than economic. The neighborhood itself is in transformation, the buildings highlighted as real estate; what will become of that old deco theater/church? Art is an agent, a pattern imprinted, ephemerally, on “a normal city block” where tony restaurants and Etsy-infuenced shops show up regularly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And so do events like this. Earlier in the week, ShockTop Belgian Ale, part of the Anheuser-Busch family, threw a SOMA street party for a \u003ca href=\"http://www.photobernalist.com/shock-top-san-francisco-billboard-by-stan-herd.html\">handmade billboard made of the beer’s ingredients\u003c/a>, while in late September, Levi’s traveling “public art project” \u003ca href=\"http://stationtostation.com/\">\u003cb>Station to Station\u003c/b>\u003c/a> will pull into an Oakland train station with “nomadic sculptures” by Urs Fischer, Kenneth Anger, Ernesto Neto, Carsten HÖller, and Liz Glynn. Exciting prospects all, though the implications of each are open to interpretation.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/125109/a_creative_commons_brought_to_you_by",
"authors": [
"79"
],
"categories": [
"arts_75"
],
"featImg": "arts_10125109",
"label": "arts"
},
"arts_125068": {
"type": "posts",
"id": "arts_125068",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "125068",
"score": null,
"sort": [
1377287970000
]
},
"guestAuthors": [],
"slug": "net_artist_asks_whats_real_in_online_images",
"title": "Net Artist Asks What's Real in Online Images",
"publishDate": 1377287970,
"format": "standard",
"headTitle": "Net Artist Asks What’s Real in Online Images | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some interesting things with gifs — and reality. Gifs, those little animated images of pixelated dancing cats, have grown up and are becoming a format of choice for artists on the social web. And on Z_D_, gifs are scratching the boundaries of the uncanny valley between the real and the generated image.\u003c/p>\n\u003cp>All the the gifs below were published in the last few months and are shown in chronological order, though they are only a small selection of Dougherty’s output during that time. This string of works has gone from revealing the wire frame behind digital image generation, through an exploration of the aesthetics of various 3D computer modeling, animation, and rendering programs, and leaves us to sort out what was real and what was made in the computer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/461a01bb3c117e4c47ba986c4a52d591/tumblr_mpvgkaiTvp1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The first in this collection introduces the viewer to the concept of more polygons equaling more resolution. This is a factor of digital rendering most of us are at least peripherally aware of from watching any Pixar movie: as processing power improves, computers can put more math, and thus more polygons, into a 3D model. Here the face slowly resolves, adding polygons until we might be seeing a real face, scrubbing the playhead of resolution back and forth trying to find the exact edge of ‘realness,’ and testing the “uncanny valley.”\u003c/p>\n\u003cp>The uncanny valley is a \u003ca href=\"http://en.wikipedia.org/wiki/Uncanny_valley\">concept in computer animation\u003c/a> and robotics denoting the space between comfortably real people and the cartoonish parodies of humans made to seem charming (think WALL·E or C3P0). In between lies the similar, but not exact recreation of a person whose minute differences leave him/her feeling unsettling to human observers. But the uncanny valley doesn’t only apply to human likenesses, but also to the line between real and generated objects in the images we see online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/eb3ebebe0d2c77600e65db77194c3070/tumblr_mpy1vjdRFn1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Objects can be confusingly unreal as well. Here low resolution shape is mashed up with high resolution texture, leaving the middle face out of sync along the digtial-real sliding scale. The flickering statue in the background leaves behind a trace of the computer generated object, in what otherwise might have been a standard gallery documentation shot. But the images ask more questions than they answer. Are the heads sculpturally stylized to look digital? Is the room generated too?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/aec14772b82edad57bdcd887645c8a46/tumblr_mqbriaMCHR1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Is the digitally generated image, the white network of lines, made to resemble a real world photograph or is the entire image completely generated? Is what I’m looking at physical, an actual rock from actual Earth or entirely made by the computer? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/9e716e3936dfad9e7f428e784afd8222/tumblr_mqz1spHlef1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Dougherty’s next set of real objects are twisted, scaled and otherwise left with the markings of digital manipulation (above), then completely, recognizably digital objects start showing up in real places. A plastic texture covers the roman carved face and chess piece neck balanced on top of a too-perfect, shiny grey sphere, the painted lines of the parking lot reflected in its rocking surface. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/ff71449fe2024def4fbe72ab40807a4a/tumblr_mr6tfebnkc1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The work also hints at its own relationship to previous generations of visual art, even reanimating carved busts, from back when art was, and here comes that word again, more real, carved from chunks of rock dug out of the Earth, the height of advanced technology at the time.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/90b37e9f6067d27ed83cb94f04577ecf/tumblr_mra11yxjf41r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Or a swelling cairn stuck on a modern street. Is it the elastic pull of the of the rocks or that somehow still-in-existence pay phone that makes the image unsettling — real, but not quite? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/8d497612e46f553a9100a3ac7afac7e0/tumblr_mrg1h1IKsU1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The answer to these mounting questions? The work argues that it doesn’t matter if what you are looking at is real or generated and asks you just to wait in the liminal space between things, with all its eerie quirks. Dougherty is then a conceptual realist, interested in what images look like being out of sync with what, or sometimes where, they are. This work is made for eyes that are accustomed to spotting photo manipulation in online images, for minds that see little difference between ‘real’ photographs and filtered Instagrams. It’s for all of us, online right now, reading this article, saturated with the aesthetics of digital life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The expectation of digital manipulation on everything we see allows for a more plastic relationship to real things. Z_D_ is a great example, but net art itself is blurring the harsh seam between authentic and recreation. We accept work in museums or galleries as real, and likely scarce, and thus authentic. But that’s the thing about art online, there’s no scarcity, and without scarcity our ideas of original and forgery, real and generated no longer apply.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some provocative things with gifs -- and reality.",
"status": "publish",
"parent": 0,
"modified": 1726771508,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 834
},
"headData": {
"title": "Net Artist Asks What's Real in Online Images | KQED",
"description": "Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some provocative things with gifs -- and reality.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Net Artist Asks What's Real in Online Images",
"datePublished": "2013-08-23T12:59:30-07:00",
"dateModified": "2024-09-19T11:45:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/125068/net_artist_asks_whats_real_in_online_images",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Need a reason to stop ignoring art online? Try the HatePlow Tumblr, or Z_D_ as the page is titled, which collects the work of Portland artist Zack Dougherty, who does some interesting things with gifs — and reality. Gifs, those little animated images of pixelated dancing cats, have grown up and are becoming a format of choice for artists on the social web. And on Z_D_, gifs are scratching the boundaries of the uncanny valley between the real and the generated image.\u003c/p>\n\u003cp>All the the gifs below were published in the last few months and are shown in chronological order, though they are only a small selection of Dougherty’s output during that time. This string of works has gone from revealing the wire frame behind digital image generation, through an exploration of the aesthetics of various 3D computer modeling, animation, and rendering programs, and leaves us to sort out what was real and what was made in the computer.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/461a01bb3c117e4c47ba986c4a52d591/tumblr_mpvgkaiTvp1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The first in this collection introduces the viewer to the concept of more polygons equaling more resolution. This is a factor of digital rendering most of us are at least peripherally aware of from watching any Pixar movie: as processing power improves, computers can put more math, and thus more polygons, into a 3D model. Here the face slowly resolves, adding polygons until we might be seeing a real face, scrubbing the playhead of resolution back and forth trying to find the exact edge of ‘realness,’ and testing the “uncanny valley.”\u003c/p>\n\u003cp>The uncanny valley is a \u003ca href=\"http://en.wikipedia.org/wiki/Uncanny_valley\">concept in computer animation\u003c/a> and robotics denoting the space between comfortably real people and the cartoonish parodies of humans made to seem charming (think WALL·E or C3P0). In between lies the similar, but not exact recreation of a person whose minute differences leave him/her feeling unsettling to human observers. But the uncanny valley doesn’t only apply to human likenesses, but also to the line between real and generated objects in the images we see online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/eb3ebebe0d2c77600e65db77194c3070/tumblr_mpy1vjdRFn1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Objects can be confusingly unreal as well. Here low resolution shape is mashed up with high resolution texture, leaving the middle face out of sync along the digtial-real sliding scale. The flickering statue in the background leaves behind a trace of the computer generated object, in what otherwise might have been a standard gallery documentation shot. But the images ask more questions than they answer. Are the heads sculpturally stylized to look digital? Is the room generated too?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/aec14772b82edad57bdcd887645c8a46/tumblr_mqbriaMCHR1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Is the digitally generated image, the white network of lines, made to resemble a real world photograph or is the entire image completely generated? Is what I’m looking at physical, an actual rock from actual Earth or entirely made by the computer? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/9e716e3936dfad9e7f428e784afd8222/tumblr_mqz1spHlef1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Dougherty’s next set of real objects are twisted, scaled and otherwise left with the markings of digital manipulation (above), then completely, recognizably digital objects start showing up in real places. A plastic texture covers the roman carved face and chess piece neck balanced on top of a too-perfect, shiny grey sphere, the painted lines of the parking lot reflected in its rocking surface. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/ff71449fe2024def4fbe72ab40807a4a/tumblr_mr6tfebnkc1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The work also hints at its own relationship to previous generations of visual art, even reanimating carved busts, from back when art was, and here comes that word again, more real, carved from chunks of rock dug out of the Earth, the height of advanced technology at the time.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://24.media.tumblr.com/90b37e9f6067d27ed83cb94f04577ecf/tumblr_mra11yxjf41r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>Or a swelling cairn stuck on a modern street. Is it the elastic pull of the of the rocks or that somehow still-in-existence pay phone that makes the image unsettling — real, but not quite? \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://31.media.tumblr.com/8d497612e46f553a9100a3ac7afac7e0/tumblr_mrg1h1IKsU1r6j7rho1_500.gif\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>c. \u003ca href=\"http://hateplow.tumblr.com\">Zack Dougherty\u003c/a>\u003cbr>\u003c/center>\n\u003cp>The answer to these mounting questions? The work argues that it doesn’t matter if what you are looking at is real or generated and asks you just to wait in the liminal space between things, with all its eerie quirks. Dougherty is then a conceptual realist, interested in what images look like being out of sync with what, or sometimes where, they are. This work is made for eyes that are accustomed to spotting photo manipulation in online images, for minds that see little difference between ‘real’ photographs and filtered Instagrams. It’s for all of us, online right now, reading this article, saturated with the aesthetics of digital life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The expectation of digital manipulation on everything we see allows for a more plastic relationship to real things. Z_D_ is a great example, but net art itself is blurring the harsh seam between authentic and recreation. We accept work in museums or galleries as real, and likely scarce, and thus authentic. But that’s the thing about art online, there’s no scarcity, and without scarcity our ideas of original and forgery, real and generated no longer apply.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/125068/net_artist_asks_whats_real_in_online_images",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10125068",
"label": "arts"
},
"arts_124215": {
"type": "posts",
"id": "arts_124215",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "124215",
"score": null,
"sort": [
1375651647000
]
},
"guestAuthors": [],
"slug": "the_wonders_of_wheezy_waiter",
"title": "The Wonders of 'Wheezy Waiter'",
"publishDate": 1375651647,
"format": "standard",
"headTitle": "The Wonders of ‘Wheezy Waiter’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>On June 5, 2007 asthmatic waiter Craig Benzine started a YouTube channel to vent his frustrations with his day job. He, like many of the big names on YouTube today, spent his first years on the site making hundreds of videos for a subscriber base of less than 40 viewers. But with practice, even spending an entire year making a video almost every day, his channel began to grow in popularity, and as of June 2013 Benzine’s \u003ci>Wheezy Waiter\u003c/i> channel has garnered nearly half a million subscribers and more than 72.5 million total video views. So what’s all the fuss about?\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> is a sometimes daily one-man show covering everything from how to survive falling from an airplane to a treatise on the benefits of pointlessness. Episodes are brimming with a inside jokes, making recurring segments out of bagels, punching an eagle, coffee, and even breathing. The show mixes the reality of Craig’s actually living quarters with fictional additions like a removeable roof (helpful when punching eagles), a whale tank, a time machine, an alligator pit, a sky bank and most importantly a cloning machine, which Craig uses to make copies of himself.\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> episodes come in many formats: Explosion Wednesdays cover all things explosion related in the news; Interactive Adventures are choose-your-own adventure type videos; etc. But by far the most entertaining are the series of “Gary and Me” videos. Gary and Me, two of Craig’s clones, host the show when the original Craig is unavailable. The episodes debunk myths about beards, cloning, the Internet, sleep and dinosaurs, while usually degrading into arguments over the myth and outbursts of song. \u003ci>5 Myths about Dinosaurs\u003c/i>, a Gary and Me video released at the beginning of July, is frankly a masterpiece of both performance and editing.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/EcRNc7ye7W8?list=SP-9qiMf_Dqe7WBtT3HQr0Qc7IWGsRN48x\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Connoisseurs of online video will notice the long, expertly timed shots, seamless split screen, and captivating individual performances of each clone. This is what makes \u003ci>Wheezy Waiter\u003c/i> great. His performance and editing style have co-evolved to create work specific to the medium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Besides his main channel, Benzine also makes an informal daily vlog on \u003ca href=\"http://www.youtube.com/wheezynews\">\u003ci>Wheezy News\u003c/i>\u003c/a>, hosts an infrequent gaming channel, and has been the frontman for the rock band \u003ca href=\"http://www.driftlessponyclub.com/\">Driftless Pony Club\u003c/a> for going on ten years. His newest project, titled \u003ca href=\"http://www.youtube.com/user/TheGoodStuff\">\u003ci>The Good Stuff\u003c/i>\u003c/a>, releases a playlist of themed videos every week covering topics like the reality of the rock star lifestyle and the nature of origin stories. Busy man. Benzine is the ultimate self-taught creator in a field deep with creative content. His work is a must-watch for anyone interested in online video, performance or new media today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/wheezywaiter\">Check out the Wheezy Waiter channel\u003c/a> on YouTube to watch more episodes of \u003ci>Wheezy Waiter\u003c/i>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Asthmatic waiter Craig Benzine's YouTube channels have grown in popularity and proliferated. So what's all the fuss about?",
"status": "publish",
"parent": 0,
"modified": 1726771513,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 471
},
"headData": {
"title": "The Wonders of 'Wheezy Waiter' | KQED",
"description": "Asthmatic waiter Craig Benzine's YouTube channels have grown in popularity and proliferated. So what's all the fuss about?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Wonders of 'Wheezy Waiter'",
"datePublished": "2013-08-04T14:27:27-07:00",
"dateModified": "2024-09-19T11:45:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-popculture/",
"sticky": false,
"path": "/arts/124215/the_wonders_of_wheezy_waiter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 5, 2007 asthmatic waiter Craig Benzine started a YouTube channel to vent his frustrations with his day job. He, like many of the big names on YouTube today, spent his first years on the site making hundreds of videos for a subscriber base of less than 40 viewers. But with practice, even spending an entire year making a video almost every day, his channel began to grow in popularity, and as of June 2013 Benzine’s \u003ci>Wheezy Waiter\u003c/i> channel has garnered nearly half a million subscribers and more than 72.5 million total video views. So what’s all the fuss about?\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> is a sometimes daily one-man show covering everything from how to survive falling from an airplane to a treatise on the benefits of pointlessness. Episodes are brimming with a inside jokes, making recurring segments out of bagels, punching an eagle, coffee, and even breathing. The show mixes the reality of Craig’s actually living quarters with fictional additions like a removeable roof (helpful when punching eagles), a whale tank, a time machine, an alligator pit, a sky bank and most importantly a cloning machine, which Craig uses to make copies of himself.\u003c/p>\n\u003cp>\u003ci>Wheezy Waiter\u003c/i> episodes come in many formats: Explosion Wednesdays cover all things explosion related in the news; Interactive Adventures are choose-your-own adventure type videos; etc. But by far the most entertaining are the series of “Gary and Me” videos. Gary and Me, two of Craig’s clones, host the show when the original Craig is unavailable. The episodes debunk myths about beards, cloning, the Internet, sleep and dinosaurs, while usually degrading into arguments over the myth and outbursts of song. \u003ci>5 Myths about Dinosaurs\u003c/i>, a Gary and Me video released at the beginning of July, is frankly a masterpiece of both performance and editing.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/EcRNc7ye7W8?list=SP-9qiMf_Dqe7WBtT3HQr0Qc7IWGsRN48x\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Connoisseurs of online video will notice the long, expertly timed shots, seamless split screen, and captivating individual performances of each clone. This is what makes \u003ci>Wheezy Waiter\u003c/i> great. His performance and editing style have co-evolved to create work specific to the medium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides his main channel, Benzine also makes an informal daily vlog on \u003ca href=\"http://www.youtube.com/wheezynews\">\u003ci>Wheezy News\u003c/i>\u003c/a>, hosts an infrequent gaming channel, and has been the frontman for the rock band \u003ca href=\"http://www.driftlessponyclub.com/\">Driftless Pony Club\u003c/a> for going on ten years. His newest project, titled \u003ca href=\"http://www.youtube.com/user/TheGoodStuff\">\u003ci>The Good Stuff\u003c/i>\u003c/a>, releases a playlist of themed videos every week covering topics like the reality of the rock star lifestyle and the nature of origin stories. Busy man. Benzine is the ultimate self-taught creator in a field deep with creative content. His work is a must-watch for anyone interested in online video, performance or new media today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/wheezywaiter\">Check out the Wheezy Waiter channel\u003c/a> on YouTube to watch more episodes of \u003ci>Wheezy Waiter\u003c/i>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/124215/the_wonders_of_wheezy_waiter",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10124215",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"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",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=popculture": {
"isFetching": false,
"latestQuery": {
"from": 2856,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2996,
"relation": "eq"
},
"items": [
"arts_127487",
"arts_127401",
"arts_127361",
"arts_127107",
"arts_126776",
"arts_126654",
"arts_126442",
"arts_126419",
"arts_126172",
"arts_125109",
"arts_125068",
"arts_124215"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_popculture": {
"isLoading": true
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}