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_10123724": {
"type": "attachments",
"id": "arts_10123724",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10123724",
"found": true
},
"parent": 123724,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/buttonclub-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1374710173,
"modified": 1374710173,
"caption": null,
"description": null,
"title": "Tiny Art Subscription: Button Club-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10123416": {
"type": "attachments",
"id": "arts_10123416",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10123416",
"found": true
},
"parent": 123416,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/trayvon4-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/trayvon4.jpg",
"width": 640,
"height": 359
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/trayvon4-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/trayvon4-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1374097001,
"modified": 1374097001,
"caption": null,
"description": null,
"title": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10123175": {
"type": "attachments",
"id": "arts_10123175",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10123175",
"found": true
},
"parent": 123175,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mymusic-3605-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mymusic-3605.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mymusic-3605-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mymusic-3605-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1373495930,
"modified": 1373495930,
"caption": null,
"description": null,
"title": "Binge on 'MyMusic' in Time for Season Two-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10122897": {
"type": "attachments",
"id": "arts_10122897",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10122897",
"found": true
},
"parent": 122897,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360.jpg",
"width": 640,
"height": 360
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/07/mrdiv-360-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1372804945,
"modified": 1372804945,
"caption": null,
"description": null,
"title": "Mr. Div Creates Tomorrow's GIFs Today-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10122693": {
"type": "attachments",
"id": "arts_10122693",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10122693",
"found": true
},
"parent": 122693,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/karenkavett-36011-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/karenkavett-36011.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/karenkavett-36011-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/karenkavett-36011-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1372367682,
"modified": 1372367682,
"caption": null,
"description": null,
"title": "Karen Kavett: The Bay Area's Last YouTuber?-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10122262": {
"type": "attachments",
"id": "arts_10122262",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10122262",
"found": true
},
"parent": 122262,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/guacamelee-3605-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/guacamelee-3605.jpg",
"width": 640,
"height": 360
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/guacamelee-3605-300x168.jpg",
"width": 300,
"mimeType": "image/jpeg",
"height": 168
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/guacamelee-3605-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1371596311,
"modified": 1371596311,
"caption": null,
"description": null,
"title": "And an Extra Order of Guacamelee!-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10121772": {
"type": "attachments",
"id": "arts_10121772",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10121772",
"found": true
},
"parent": 121772,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/ideachannel2485.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/06/ideachannel2485-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1370554104,
"modified": 1370554104,
"caption": null,
"description": null,
"title": "Have You Checked Out the PBS Idea Channel?-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10121283": {
"type": "attachments",
"id": "arts_10121283",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10121283",
"found": true
},
"parent": 121283,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/fashion248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1369591196,
"modified": 1369591196,
"caption": null,
"description": null,
"title": "CCA's Annual Fashion Show, or How Everything I Know About Fashion I Learned from a 13 Year Old-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10120680": {
"type": "attachments",
"id": "arts_10120680",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10120680",
"found": true
},
"parent": 120680,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/05/mydrunkkitchen248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1368233880,
"modified": 1368233880,
"caption": null,
"description": null,
"title": "'My Drunk Kitchen' and YouTube's Self-Deprecating Goddess-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10119489": {
"type": "attachments",
"id": "arts_10119489",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10119489",
"found": true
},
"parent": 119489,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/explo248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1366142607,
"modified": 1366142607,
"caption": null,
"description": null,
"title": "Bigger, Better, Snazzier: The Exploratorium Reopens-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10119117": {
"type": "attachments",
"id": "arts_10119117",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10119117",
"found": true
},
"parent": 119117,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/slenderman2485.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/04/slenderman2485-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1365487532,
"modified": 1365487532,
"caption": null,
"description": null,
"title": "A Ghost in the Machine-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10117576": {
"type": "attachments",
"id": "arts_10117576",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10117576",
"found": true
},
"parent": 117576,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2013/03/houseofcards248-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1362904602,
"modified": 1362904602,
"caption": null,
"description": null,
"title": "'House of Cards': An Evolution in Content-",
"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": {
"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"
},
"cfrock": {
"type": "authors",
"id": "58",
"meta": {
"index": "authors_1716337520",
"id": "58",
"found": true
},
"name": "Christian L. Frock",
"firstName": "Christian L.",
"lastName": "Frock",
"slug": "cfrock",
"email": "christian@invisiblevenue.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Christian L. Frock | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cfrock"
},
"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"
}
},
"pagesReducer": {
"arts_category_popculture": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"score": 14.408785
},
"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": 240
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=popculture",
"seeMore": false,
"paginated": true,
"page": 240
}
},
{
"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_123724": {
"type": "posts",
"id": "arts_123724",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "123724",
"score": null,
"sort": [
1374706573000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1374706573,
"format": "standard",
"title": "Tiny Art Subscription: Button Club",
"headTitle": "Tiny Art Subscription: Button Club | KQED",
"content": "\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 540,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705049821,
"excerpt": "An art subscription service designed specifically for small apartment living, Button Club celebrates its fourth anniversary this month and will release its fiftieth edition in August.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An art subscription service designed specifically for small apartment living, Button Club celebrates its fourth anniversary this month and will release its fiftieth edition in August.",
"title": "Tiny Art Subscription: Button Club | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tiny Art Subscription: Button Club",
"datePublished": "2013-07-24T15:56:13-07:00",
"dateModified": "2024-01-12T00:57:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "button_club",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/visualarts/visualarts-popculture/",
"sticky": false,
"path": "/arts/123724/button_club",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tanya Madoff is a San Francisco artist who loved the idea of an art subscription service and was particularly inspired by \u003ca href=\"http://www.thethingquarterly.com/\">The Thing Quarterly\u003c/a>, which offers a new multiple by a famous artist every three months. Madoff wanted to create a subscription club that was a bit smaller and more accessible. As she says, “Living in San Francisco (frequently in small spaces), I wanted something that someone renting a room or studio apartment could enjoy. I started \u003ca href=\"http://tanyamadoff.com/collections/frontpage\">Button Club\u003c/a> because I wanted an ongoing project that would challenge me creatively and allow me to collaborate with other artists.” She always loved getting surprises in the mail and wanted to create that experience for others.\u003c/p>\n\u003cp>As a former guest artist and Button Club subscriber, I can tell you that receiving new buttons featuring art each month is always a welcome surprise. Mixed among my bills and junk mail will be a colorful little package put together with care and creativity. Some of my favorites have been a button with a drawing of a record with its own little sleeve, and another was a button representing Chinese New Year, tucked into a traditional red and gold envelope. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Madoff essentially creates a collage and packaging that matches the art on the button. She says she felt frustrated as an artist before she started Button Club, and that she enjoys having a deadline and audience for her collaborative work each month. She’s also “learned to adopt the wabi-sabi approach and have an appreciation for the imperfections and variations that come from handmade art.”\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>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/buttonclub5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Small buttons are ubiquitous, you can find them everywhere, but Madoff’s are extra special. She spends time creating custom packages, but also sees the projects as ephemeral: “Often you have to rip part of the packaging to get the button. I like to think I’m creating an experience for the subscriber. It’s art, but not pretentious. Also, there’s something very pleasing to me about the one-inch button size. They almost seem like candy. It’s like having a delicious snack. An it immediately becomes unique to the person receiving it because they choose how to wear or display it. Plus, it’s way easier than the “Fruit of the Month Club”–you don’t need grapefruit spoons!” Madoff sums up the essence of Button Club best, “When people put care and love into whatever they are creating, it makes a difference that can be felt.”\u003c/p>\n\u003cp>July 2013 is the fourth anniversary of Button Club, and August will mark its 50th issue. Many of the artists Madoff works with are in the Bay Area, and she finds them online, in galleries, and through her own art network of friends. The first time an artist approached her, asking to be featured, she says, “It felt like a really great benchmark.” Button Club was officially on the map as a unique way to share tiny, wearable art prints with a new audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://tanyamadoff.com/\">Subscribe to Button Club\u003c/a> at TanyaMadoff.com. All photos by Tanya Madoff. Button Club artists pictured: Kristin Farr, Albert Campbell, Annie Galvin. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/123724/button_club",
"authors": [
"16"
],
"categories": [
"arts_75",
"arts_70"
],
"featImg": "arts_10123724",
"label": "arts"
},
"arts_123416": {
"type": "posts",
"id": "arts_123416",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "123416",
"score": null,
"sort": [
1374097001000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1374097001,
"format": "standard",
"title": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness",
"headTitle": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness | KQED",
"content": "\u003cp>It is now widely known that George Zimmerman, a self-appointed volunteer neighborhood watchman in Sanford, Florida, shot and killed unarmed African American teen Trayvon Martin in February 2012. When police questioned Zimmerman immediately after the shooting he claimed self-defense, even though he pursued the boy against the advice of a 9-1-1 operator. Last Saturday a jury found Zimmerman not guilty of all charges stemming from the shooting and he left the courthouse innocent in the eyes of the law. The verdict induced strong reactions around the country, including an avalanche of discussion on social media, a number of protests, and, in Oakland, violent demonstrations that damaged downtown businesses. Much of the discussion has centered on systemic racism, how it impacts the lives of people of color, and villainizes youth victims.\u003c/p>\n\u003cp>Also at the center of the controversy is a discussion about Florida’s “stand your ground” or “shoot first” law. According to the \u003ca href=\"http://smartgunlaws.org/tag/stand-your-ground/\">Law Center to Prevent Gun Violence\u003c/a>, the law says that “a person who reasonably believes that deadly force is necessary to prevent imminent death or great bodily harm has \u003ci>no duty\u003c/i> to retreat from a confrontation \u003ci>outside the home\u003c/i> before engaging in deadly force.” The site goes on to say, “In reality, Florida’s law shields individuals who use deadly force to injure or kill, by granting civil and criminal immunity to any shooter who convinces a judge that he or she reasonably believed a threat existed by a preponderance of the evidence.” During closing arguments, the defense claimed that Martin had “weaponized the sidewalk” to bludgeon Zimmerman during the confrontation in which Zimmerman shot him through the heart with a concealed 9mm Kel-Tec pistol.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">Artist Stephanie Syjuco\u003c/p>\n\u003cp>Artists, writers, and activists immediately began to make work in response to the verdict. The next morning, Bay Area-based artist \u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a> posted on Facebook an image of herself lying facedown on the cement in an empty parking lot, akin to media images of Martin’s lifeless body after the shooting. The image, she said, is “a kind of face-plant in reaction to recent political events” and went on to say, “as in the Zimmerman trial, this image takes on a \u003ca href=\"http://www.imdb.com/title/tt0042876/\">\u003ci>Rashomon\u003c/i>\u003c/a>-like effect.” The nature of what transpired is unclear, but the image is unsettling and, the artist hopes, provocative.\u003c/p>\n\u003cp>After Zimmerman was found not guilty, a flood of recrimination in the news and social media was focused on Florida’s legal system, as if the legality that enabled the verdict was limited to Florida. This distancing, this need to place Florida in a category of otherness, provided some with a sense of exoneration. Whatever is happening there is not my problem, seemed to be the prevailing message. One poster on Facebook commented, “Say what you want about Global Warming, it’s going to erase that tumor of a state known as Florida.” But in reality thirty-one states, including Florida, have adopted “Shoot First” statutes since 2005. Each generally permits the use of deadly force in self-defense in public places with no duty to retreat. The evident racism in “stand your ground” states is stunning: according to a recent study conducted by John Roman, a senior analyst at the Urban Institute’s Justice Policy Center, white people who kill black people are 354% more likely to be cleared of murder, as recently reported in the United Kingdom’s \u003ci>Daily Mail\u003c/i>. In response to the verdict, the NAACP launched a \u003ca href=\"http://www.naacp.org/page/s/doj-civil-rights-petition\">petition urging the Department of Justice to file civil rights charges against Zimmerman\u003c/a>, stating that the organization would “fight for the removal of stand your ground laws in every state,” and vowed not to rest until “racial profiling in all of its forms is outlawed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following the verdict, President Obama urged Americans to respect the jury’s verdict, noting that we are “a nation of laws.” He continued by saying, “We should ask ourselves if we’re doing all we can to stem the tide of gun violence that claims too many lives across this country on a daily basis. We should ask ourselves, as individuals and as a society, how we can prevent future tragedies like this. As citizens, that’s a job for all of us.” The President, however, offered no council on how citizens can impact gun laws, a seemingly insurmountable task after the Senate persisted in defeating a background check measure this spring that was supported by more than 90% of Americans.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist: Aaron Stienstra\u003c/p>\n\u003cp>Many people have begun to question how they can prevent tragedies like this by challenging their own assumptions of white privilege. Joseph Phelan, a thirty-three year old poet and writer who lived in Florida for seven years, felt compelled to initiate a discussion on this topic after attending a street march in New York where people chanted, “We are Trayvon Martin.” But after, he said, “I felt sad and I had a huge sense of failure, especially as this is happening in the lead up to the fiftieth anniversary of the March on Washington next month. What’s changed? I know that I will never be Trayvon Martin because I’m white, but I want this country to be better.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image courtesy: \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>\u003c/p>\n\u003cp>On Sunday night Phelan initiated an open public platform for dialog about racism on Tumblr called \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>, without knowing how or even if anyone would participate. Overnight a few submissions came in; over the course of the last few days more than 1,200 people have sent submissions. The majority of people post about being white and about not wanting the privileges of racism. Many others post about their experiences as African Americans with young children or about how being multi-ethnic or light skinned has allowed them to evade overt racism. The prevailing impression of the submissions, he says, is that families are complicated. So too is a conversation about racism. “What I wanted was a really deep conversation about race. I’ve never had this broad or far-reaching a conversation about race, especially with white people.”\u003c/p>\n\u003cp>Phelan has engaged a dispersed network of friends, many of whom are writers, artists, and musicians, to assist with posting submissions around the clock, including friends in Brooklyn, Miami, Tennessee, and as far away as Europe. Though the site is moderated, pretty much everything is posted, with the exception of anything racist. Phelan guesses there have been no more than fifteen submissions omitted out of the hundreds posted and in the queue to be posted.\u003c/p>\n\u003cp>But is the site really a forum for conversation or is it primarily one directional? Phelan concedes that the posts are mostly testimonials, but points out that conversations are happening in response to the site on other platforms such as Facebook or Twitter. Through the site people are, essentially, facilitating dialog in their own immediate circles about the verdict and about racism. They aren’t easy conversations to have, but it’s a place to start.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Courtesy: Just Seeds Artists’ Cooperative\u003c/p>\n\u003cp>Earlier this week, Just Seeds Artists’ Cooperative, “a decentralized network of 24 artists committed to making print and design work that reflects a radical social, environmental, and political stance,” released a free downloadable poster graphic for viral distribution depicting a portrait of Martin with text that reads, “I am Trayvon Martin and my life matters.” Smaller Spanish text at the bottom reads “Viva Oscar Grant, Viva Trayvon, Viva Los Presos En Huelga De Hambre,” the later of which refers to prisoners on hunger strike. The message draws a thread through the lives of different people, largely men of color, who have been deprived of their humanity.\u003c/p>\n\u003cp>The conversations happening right now after the Zimmerman verdict require the complete reevaluation of interconnected attitudes in American society, at the local and national level, from racism to gun laws to the penal code. Because every life matters, even, or perhaps especially those that we have failed. We can’t change what has happened, but we can make change. And we must.\u003c/p>\n\u003cp>\u003c/p>\u003cp>[ad floatright]\u003c/p>\n\u003cp>Author’s note: These are but a selection of projects that have taken place over the last few days with many more underway around the country. Please share other creative projects that address the Zimmerman verdict in the comments section below to continue to expand the dialogue here.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1455,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705049837,
"excerpt": "Much of the discussion following the Trayvon Martin murder trial has focused on systemic racism, how it impacts the lives of people of color, and villainizes youth victims. Several artists have made work to provoke further dialogue online.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Much of the discussion following the Trayvon Martin murder trial has focused on systemic racism, how it impacts the lives of people of color, and villainizes youth victims. Several artists have made work to provoke further dialogue online.",
"title": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "We Are Not Trayvon Martin: On Racism, Gun Laws and Otherness",
"datePublished": "2013-07-17T14:36:41-07:00",
"dateModified": "2024-01-12T00:57:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "we_are_not_trayvon_martin_on_racism_gun_laws_and_otherness",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/popculture/",
"sticky": false,
"path": "/arts/123416/we_are_not_trayvon_martin_on_racism_gun_laws_and_otherness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is now widely known that George Zimmerman, a self-appointed volunteer neighborhood watchman in Sanford, Florida, shot and killed unarmed African American teen Trayvon Martin in February 2012. When police questioned Zimmerman immediately after the shooting he claimed self-defense, even though he pursued the boy against the advice of a 9-1-1 operator. Last Saturday a jury found Zimmerman not guilty of all charges stemming from the shooting and he left the courthouse innocent in the eyes of the law. The verdict induced strong reactions around the country, including an avalanche of discussion on social media, a number of protests, and, in Oakland, violent demonstrations that damaged downtown businesses. Much of the discussion has centered on systemic racism, how it impacts the lives of people of color, and villainizes youth victims.\u003c/p>\n\u003cp>Also at the center of the controversy is a discussion about Florida’s “stand your ground” or “shoot first” law. According to the \u003ca href=\"http://smartgunlaws.org/tag/stand-your-ground/\">Law Center to Prevent Gun Violence\u003c/a>, the law says that “a person who reasonably believes that deadly force is necessary to prevent imminent death or great bodily harm has \u003ci>no duty\u003c/i> to retreat from a confrontation \u003ci>outside the home\u003c/i> before engaging in deadly force.” The site goes on to say, “In reality, Florida’s law shields individuals who use deadly force to injure or kill, by granting civil and criminal immunity to any shooter who convinces a judge that he or she reasonably believed a threat existed by a preponderance of the evidence.” During closing arguments, the defense claimed that Martin had “weaponized the sidewalk” to bludgeon Zimmerman during the confrontation in which Zimmerman shot him through the heart with a concealed 9mm Kel-Tec pistol.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">Artist Stephanie Syjuco\u003c/p>\n\u003cp>Artists, writers, and activists immediately began to make work in response to the verdict. The next morning, Bay Area-based artist \u003ca href=\"http://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a> posted on Facebook an image of herself lying facedown on the cement in an empty parking lot, akin to media images of Martin’s lifeless body after the shooting. The image, she said, is “a kind of face-plant in reaction to recent political events” and went on to say, “as in the Zimmerman trial, this image takes on a \u003ca href=\"http://www.imdb.com/title/tt0042876/\">\u003ci>Rashomon\u003c/i>\u003c/a>-like effect.” The nature of what transpired is unclear, but the image is unsettling and, the artist hopes, provocative.\u003c/p>\n\u003cp>After Zimmerman was found not guilty, a flood of recrimination in the news and social media was focused on Florida’s legal system, as if the legality that enabled the verdict was limited to Florida. This distancing, this need to place Florida in a category of otherness, provided some with a sense of exoneration. Whatever is happening there is not my problem, seemed to be the prevailing message. One poster on Facebook commented, “Say what you want about Global Warming, it’s going to erase that tumor of a state known as Florida.” But in reality thirty-one states, including Florida, have adopted “Shoot First” statutes since 2005. Each generally permits the use of deadly force in self-defense in public places with no duty to retreat. The evident racism in “stand your ground” states is stunning: according to a recent study conducted by John Roman, a senior analyst at the Urban Institute’s Justice Policy Center, white people who kill black people are 354% more likely to be cleared of murder, as recently reported in the United Kingdom’s \u003ci>Daily Mail\u003c/i>. In response to the verdict, the NAACP launched a \u003ca href=\"http://www.naacp.org/page/s/doj-civil-rights-petition\">petition urging the Department of Justice to file civil rights charges against Zimmerman\u003c/a>, stating that the organization would “fight for the removal of stand your ground laws in every state,” and vowed not to rest until “racial profiling in all of its forms is outlawed.”\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>Following the verdict, President Obama urged Americans to respect the jury’s verdict, noting that we are “a nation of laws.” He continued by saying, “We should ask ourselves if we’re doing all we can to stem the tide of gun violence that claims too many lives across this country on a daily basis. We should ask ourselves, as individuals and as a society, how we can prevent future tragedies like this. As citizens, that’s a job for all of us.” The President, however, offered no council on how citizens can impact gun laws, a seemingly insurmountable task after the Senate persisted in defeating a background check measure this spring that was supported by more than 90% of Americans.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Artist: Aaron Stienstra\u003c/p>\n\u003cp>Many people have begun to question how they can prevent tragedies like this by challenging their own assumptions of white privilege. Joseph Phelan, a thirty-three year old poet and writer who lived in Florida for seven years, felt compelled to initiate a discussion on this topic after attending a street march in New York where people chanted, “We are Trayvon Martin.” But after, he said, “I felt sad and I had a huge sense of failure, especially as this is happening in the lead up to the fiftieth anniversary of the March on Washington next month. What’s changed? I know that I will never be Trayvon Martin because I’m white, but I want this country to be better.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Image courtesy: \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>\u003c/p>\n\u003cp>On Sunday night Phelan initiated an open public platform for dialog about racism on Tumblr called \u003ca href=\"http://wearenottrayvonmartin.com/\">We Are Not Trayvon Martin\u003c/a>, without knowing how or even if anyone would participate. Overnight a few submissions came in; over the course of the last few days more than 1,200 people have sent submissions. The majority of people post about being white and about not wanting the privileges of racism. Many others post about their experiences as African Americans with young children or about how being multi-ethnic or light skinned has allowed them to evade overt racism. The prevailing impression of the submissions, he says, is that families are complicated. So too is a conversation about racism. “What I wanted was a really deep conversation about race. I’ve never had this broad or far-reaching a conversation about race, especially with white people.”\u003c/p>\n\u003cp>Phelan has engaged a dispersed network of friends, many of whom are writers, artists, and musicians, to assist with posting submissions around the clock, including friends in Brooklyn, Miami, Tennessee, and as far away as Europe. Though the site is moderated, pretty much everything is posted, with the exception of anything racist. Phelan guesses there have been no more than fifteen submissions omitted out of the hundreds posted and in the queue to be posted.\u003c/p>\n\u003cp>But is the site really a forum for conversation or is it primarily one directional? Phelan concedes that the posts are mostly testimonials, but points out that conversations are happening in response to the site on other platforms such as Facebook or Twitter. Through the site people are, essentially, facilitating dialog in their own immediate circles about the verdict and about racism. They aren’t easy conversations to have, but it’s a place to start.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/trayvon3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Courtesy: Just Seeds Artists’ Cooperative\u003c/p>\n\u003cp>Earlier this week, Just Seeds Artists’ Cooperative, “a decentralized network of 24 artists committed to making print and design work that reflects a radical social, environmental, and political stance,” released a free downloadable poster graphic for viral distribution depicting a portrait of Martin with text that reads, “I am Trayvon Martin and my life matters.” Smaller Spanish text at the bottom reads “Viva Oscar Grant, Viva Trayvon, Viva Los Presos En Huelga De Hambre,” the later of which refers to prisoners on hunger strike. The message draws a thread through the lives of different people, largely men of color, who have been deprived of their humanity.\u003c/p>\n\u003cp>The conversations happening right now after the Zimmerman verdict require the complete reevaluation of interconnected attitudes in American society, at the local and national level, from racism to gun laws to the penal code. Because every life matters, even, or perhaps especially those that we have failed. We can’t change what has happened, but we can make change. And we must.\u003c/p>\n\u003cp>\u003c/p>\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>Author’s note: These are but a selection of projects that have taken place over the last few days with many more underway around the country. Please share other creative projects that address the Zimmerman verdict in the comments section below to continue to expand the dialogue here.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/123416/we_are_not_trayvon_martin_on_racism_gun_laws_and_otherness",
"authors": [
"58"
],
"categories": [
"arts_75"
],
"featImg": "arts_10123416",
"label": "arts"
},
"arts_123175": {
"type": "posts",
"id": "arts_123175",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "123175",
"score": null,
"sort": [
1373495930000
]
},
"guestAuthors": [],
"slug": "binge_on_mymusic_in_time_for_season_two",
"title": "Binge on 'MyMusic' in Time for Season Two",
"publishDate": 1373495930,
"format": "standard",
"headTitle": "Binge on ‘MyMusic’ in Time for Season Two | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Looking for something new, and perhaps a little quirky for your next binge watch? Try \u003ci>MyMusic\u003c/i>, the brainchild of Benny and Rafi Fine, or the “Fine Brothers” as they are commonly known, a co-director, producer, writer team that has been putting content online since 2004. After spending years making \u003ca href=\"http://www.youtube.com/user/TheFineBros\">popular YouTube videos\u003c/a>, including their \u003ca href=\"http://www.youtube.com/playlist?list=PLFCAA1C9F5755B266\">\u003ci>Kids React\u003c/i>\u003c/a> videos and \u003ca href=\"http://www.youtube.com/watch?v=ILhoVf_Uz-4\">\u003ci>Spoilers\u003c/i>\u003c/a> series, the pair has created YouTube’s first weekly “transmedia” sitcom.\u003c/p>\n\u003cp>The show is a surreal mockumentary about a music news startup called “MyMusic.” Much like \u003ci>The Office\u003c/i>, it follows the work lives of MyMusic employees. Indie, the resident hipster and CEO of MyMusic, can’t be bothered to remember his workers’ real names so each character goes by the genre of music they are associated with. Idol, for example, is MyMusic’s head of social media and the queen of all things pop, including claiming to have invented the \u003ca href=\"http://memegenerator.co/instance/20127541\">‘duck face’\u003c/a> that has been sweeping selfies Internet wide. The show, which essentially focuses on the work of different kinds of people finding common ground, is brimming with silly surreal twists, including the office’s resident Bigfoot, inanimate employee “Scarfman,” who is entirely made of scarves, and a talent booker, named Dubstep, who speaks exclusively in stylized beatboxing.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rdJoTTYKCvc?list=SP963EB414824368A3&w=480&h=270]\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> was originally pitched to YouTube as a year-long weekly sitcom — a feat in itself — but it has become far more that just a scripted show. \u003ci>MyMusic\u003c/i> expanded its reach by wrapping the main show in an entire ecosystem of supporting materials. The channel is rounded out with addditional videos in which real musicians interact with the show’s fictional characters: \u003ci>MyMusic Presents\u003c/i> is a live performance series; \u003ci>MyMusic News\u003c/i> is a magazine show that covers real world music events; and \u003ci>The Mosh\u003c/i> is a scripted talkback in which the characters from the main show reply to questions fans post to the show’s various social media platforms.\u003c/p>\n\u003cp>And this is where \u003ci>MyMusic\u003c/i> becomes transmedia. The project uses social media as a creative medium, blurring reality by creating accounts for all of the show’s fictional characters. A great example happened early in the show’s first season when Metal, the MyMusic team’s newest member, started a one-man revolution protesting Indie’s failure to provide him with a desk. Locking all the other staff members in the conference room, Metal proceeded to produce all of MyMusic’s news and social media himself. The show’s Facebook, Twitter, and various other accounts reacted in real time to the fictional events on the sitcom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> is genuinely hilarious when it focuses on subtle character humor. It has a self-conscious, of-the-moment quality that will surely date quickly in the high speed evolution of online content, but that’s part of its charm. \u003ci>MyMusic\u003c/i> is deliciously hypercurrent, an emblem of the times. It’s clear the show is a massive undertaking, and with production quality high and the web series “stigma” quickly melting away, \u003ci>MyMusic\u003c/i> feels custom made, just for you, and just right for now. Season Two is slated to come out later this summer with first showings at \u003ca href=\"http://www.vidcon.com/\">Vidcon\u003c/a> in early August, there’s just enough time to catch up on Season One now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://mymusicshow.tumblr.com/\">Visit \u003ci>MyMusic\u003c/i>‘s Official Website\u003c/a> at mymusicshow.tumblr.com. Check out \u003ca href=\"http://www.youtube.com/user/MyMusicShow\">\u003ci>MyMusic\u003c/i>‘s YouTube Channel now.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A transmedia project surrounding YouTube's first weekly scripted sitcom, \u003ci>MyMusic\u003c/i> is genuinely hilarious and deliciously hyper-current.",
"status": "publish",
"parent": 0,
"modified": 1726771519,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 602
},
"headData": {
"title": "Binge on 'MyMusic' in Time for Season Two | KQED",
"description": "A transmedia project surrounding YouTube's first weekly scripted sitcom, MyMusic is genuinely hilarious and deliciously hyper-current.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Binge on 'MyMusic' in Time for Season Two",
"datePublished": "2013-07-10T15:38:50-07:00",
"dateModified": "2024-09-19T11:45:19-07:00",
"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/123175/binge_on_mymusic_in_time_for_season_two",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for something new, and perhaps a little quirky for your next binge watch? Try \u003ci>MyMusic\u003c/i>, the brainchild of Benny and Rafi Fine, or the “Fine Brothers” as they are commonly known, a co-director, producer, writer team that has been putting content online since 2004. After spending years making \u003ca href=\"http://www.youtube.com/user/TheFineBros\">popular YouTube videos\u003c/a>, including their \u003ca href=\"http://www.youtube.com/playlist?list=PLFCAA1C9F5755B266\">\u003ci>Kids React\u003c/i>\u003c/a> videos and \u003ca href=\"http://www.youtube.com/watch?v=ILhoVf_Uz-4\">\u003ci>Spoilers\u003c/i>\u003c/a> series, the pair has created YouTube’s first weekly “transmedia” sitcom.\u003c/p>\n\u003cp>The show is a surreal mockumentary about a music news startup called “MyMusic.” Much like \u003ci>The Office\u003c/i>, it follows the work lives of MyMusic employees. Indie, the resident hipster and CEO of MyMusic, can’t be bothered to remember his workers’ real names so each character goes by the genre of music they are associated with. Idol, for example, is MyMusic’s head of social media and the queen of all things pop, including claiming to have invented the \u003ca href=\"http://memegenerator.co/instance/20127541\">‘duck face’\u003c/a> that has been sweeping selfies Internet wide. The show, which essentially focuses on the work of different kinds of people finding common ground, is brimming with silly surreal twists, including the office’s resident Bigfoot, inanimate employee “Scarfman,” who is entirely made of scarves, and a talent booker, named Dubstep, who speaks exclusively in stylized beatboxing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rdJoTTYKCvc?list=SP963EB414824368A3'\n title='//www.youtube.com/embed/rdJoTTYKCvc?list=SP963EB414824368A3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ci>MyMusic\u003c/i> was originally pitched to YouTube as a year-long weekly sitcom — a feat in itself — but it has become far more that just a scripted show. \u003ci>MyMusic\u003c/i> expanded its reach by wrapping the main show in an entire ecosystem of supporting materials. The channel is rounded out with addditional videos in which real musicians interact with the show’s fictional characters: \u003ci>MyMusic Presents\u003c/i> is a live performance series; \u003ci>MyMusic News\u003c/i> is a magazine show that covers real world music events; and \u003ci>The Mosh\u003c/i> is a scripted talkback in which the characters from the main show reply to questions fans post to the show’s various social media platforms.\u003c/p>\n\u003cp>And this is where \u003ci>MyMusic\u003c/i> becomes transmedia. The project uses social media as a creative medium, blurring reality by creating accounts for all of the show’s fictional characters. A great example happened early in the show’s first season when Metal, the MyMusic team’s newest member, started a one-man revolution protesting Indie’s failure to provide him with a desk. Locking all the other staff members in the conference room, Metal proceeded to produce all of MyMusic’s news and social media himself. The show’s Facebook, Twitter, and various other accounts reacted in real time to the fictional events on the sitcom.\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>\u003ci>MyMusic\u003c/i> is genuinely hilarious when it focuses on subtle character humor. It has a self-conscious, of-the-moment quality that will surely date quickly in the high speed evolution of online content, but that’s part of its charm. \u003ci>MyMusic\u003c/i> is deliciously hypercurrent, an emblem of the times. It’s clear the show is a massive undertaking, and with production quality high and the web series “stigma” quickly melting away, \u003ci>MyMusic\u003c/i> feels custom made, just for you, and just right for now. Season Two is slated to come out later this summer with first showings at \u003ca href=\"http://www.vidcon.com/\">Vidcon\u003c/a> in early August, there’s just enough time to catch up on Season One now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://mymusicshow.tumblr.com/\">Visit \u003ci>MyMusic\u003c/i>‘s Official Website\u003c/a> at mymusicshow.tumblr.com. Check out \u003ca href=\"http://www.youtube.com/user/MyMusicShow\">\u003ci>MyMusic\u003c/i>‘s YouTube Channel now.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/123175/binge_on_mymusic_in_time_for_season_two",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10123175",
"label": "arts"
},
"arts_122897": {
"type": "posts",
"id": "arts_122897",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "122897",
"score": null,
"sort": [
1372804945000
]
},
"guestAuthors": [],
"slug": "mr_div_makes_tomorrows_gifs_today",
"title": "Mr. Div Creates Tomorrow's GIFs Today",
"publishDate": 1372804945,
"format": "standard",
"headTitle": "Mr. Div Creates Tomorrow’s GIFs Today | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Mr. Div is the Tumblr of Matthew DiVito, a motion graphics artist who makes multifaceted gifs. These aren’t the spazzy cartoon loops the Internet is so famous for; these images consist of animated 3D shapes with rich textures and atmospheric lighting. While beautifully made, the style is decoupled from the technical prowess involved in creating nuanced and mesmerizing digital animation. The work is neither showy nor didactic, but nostalgic for a future only found in cheesy sci-fi flicks.\u003c/p>\n\u003cp>The colors of DiVito’s rotating and blinking objects, the filmy filters, the skeuomorphic animation, and even an unselfconscious disco revelry are all marks of high quality retro-futurism, influenced not just by the present iteration of technology, but also by depictions of the future that were inspired by the 1960s’ race to the moon.\u003c/p>\n\u003cp>With new pieces coming out monthly, steady if not frequent by Internet standards, Mr. Div’s growing archive is full of beautiful and arresting pieces, but for new visitors to his feed a great place to start is \u003ci>meta_hexa\u003c/i>, published in February of this year: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div1.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>meta_hexa\u003c/i>, 2013.\u003cbr>\u003c/center>\n\u003cp>The gif brings us back to a time before retinal displays, with large hexagonal pixels — some of them faulty — sunk in a black mesh grid. The screen is centered on a stack of isometric cubes, reminiscent of \u003ca href=\"http://www.classicgamesarcade.com/game/21652/q*bert.html\">\u003ci>Q*bert\u003c/i>\u003c/a>, which ebb and flicker. Like much of Mr.Div’s work, it abandons the pursuit of crispness encouraged by HD cameras and 3D computer animation, and instead lets the edges bleed, giving the gif a soft-focus glow. At once calling to mind the Lite-Brites of childhood and remnants of aging technology: old laptops running slowly after years of use, the lace of a shattered iPhone, or that one patch of dead pixels floating in the corner of your screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/53444911?title=0&byline=0&portrait=0&color=1b7f67\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Mr. Div’s gifs are definitely worth a look, but his recent video, \u003ci>THAT WILL BE THE DAY\u003c/i>, an audio/visual collaboration with musician Aldo Aréchar, is frankly stunning. Something of a visual space opera, \u003ci>THAT WILL BE THE DAY\u003c/i> is grand and beautiful throughout, but the most striking image may be 30 seconds in when, to a tremor of rising violins, a hallway of angled blue green lights frames the glowing ember of what could be both a plummeting spaceship and a falling star. It’s the essence of watching an epic sci-fi movie — the tragedy, the triumph, the heroic sacrifice all distilled down to shape and color and peculiar, intimate, motion. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div2.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>white_xmas\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>The gifs and video, made using a combination of After Effects and Cinema 4D, are both an expression of current technological power and a celebration of, or perhaps yearning for, its predecessors. Mr. Div’s work, which is only available online, takes advantage of, while picking apart, our screen-centered lives. Mr. Div asks us to please remember the magic offered by computers still in their infancy, and urges us to resist the screens’ subtle slide toward the mundane.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://mrdiv.tumblr.com/\">more information on Mr. Div\u003c/a>, visit mrdiv.tumblr.com.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Motion graphics artist Matthew DiVito has created a universe of retro-futurist mini-masterpieces that show the way toward the future of Internet art while evoking a sci-fi past.",
"status": "publish",
"parent": 0,
"modified": 1726771520,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 527
},
"headData": {
"title": "Mr. Div Creates Tomorrow's GIFs Today | KQED",
"description": "Motion graphics artist Matthew DiVito has created a universe of retro-futurist mini-masterpieces that show the way toward the future of Internet art while evoking a sci-fi past.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mr. Div Creates Tomorrow's GIFs Today",
"datePublished": "2013-07-02T15:42:25-07:00",
"dateModified": "2024-09-19T11:45:20-07:00",
"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/122897/mr_div_makes_tomorrows_gifs_today",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mr. Div is the Tumblr of Matthew DiVito, a motion graphics artist who makes multifaceted gifs. These aren’t the spazzy cartoon loops the Internet is so famous for; these images consist of animated 3D shapes with rich textures and atmospheric lighting. While beautifully made, the style is decoupled from the technical prowess involved in creating nuanced and mesmerizing digital animation. The work is neither showy nor didactic, but nostalgic for a future only found in cheesy sci-fi flicks.\u003c/p>\n\u003cp>The colors of DiVito’s rotating and blinking objects, the filmy filters, the skeuomorphic animation, and even an unselfconscious disco revelry are all marks of high quality retro-futurism, influenced not just by the present iteration of technology, but also by depictions of the future that were inspired by the 1960s’ race to the moon.\u003c/p>\n\u003cp>With new pieces coming out monthly, steady if not frequent by Internet standards, Mr. Div’s growing archive is full of beautiful and arresting pieces, but for new visitors to his feed a great place to start is \u003ci>meta_hexa\u003c/i>, published in February of this year: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div1.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>meta_hexa\u003c/i>, 2013.\u003cbr>\u003c/center>\n\u003cp>The gif brings us back to a time before retinal displays, with large hexagonal pixels — some of them faulty — sunk in a black mesh grid. The screen is centered on a stack of isometric cubes, reminiscent of \u003ca href=\"http://www.classicgamesarcade.com/game/21652/q*bert.html\">\u003ci>Q*bert\u003c/i>\u003c/a>, which ebb and flicker. Like much of Mr.Div’s work, it abandons the pursuit of crispness encouraged by HD cameras and 3D computer animation, and instead lets the edges bleed, giving the gif a soft-focus glow. At once calling to mind the Lite-Brites of childhood and remnants of aging technology: old laptops running slowly after years of use, the lace of a shattered iPhone, or that one patch of dead pixels floating in the corner of your screen.\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>\u003ciframe loading=\"lazy\" src=\"http://player.vimeo.com/video/53444911?title=0&byline=0&portrait=0&color=1b7f67\" width=\"480\" height=\"270\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Mr. Div’s gifs are definitely worth a look, but his recent video, \u003ci>THAT WILL BE THE DAY\u003c/i>, an audio/visual collaboration with musician Aldo Aréchar, is frankly stunning. Something of a visual space opera, \u003ci>THAT WILL BE THE DAY\u003c/i> is grand and beautiful throughout, but the most striking image may be 30 seconds in when, to a tremor of rising violins, a hallway of angled blue green lights frames the glowing ember of what could be both a plummeting spaceship and a falling star. It’s the essence of watching an epic sci-fi movie — the tragedy, the triumph, the heroic sacrifice all distilled down to shape and color and peculiar, intimate, motion. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Div2.gif\" style=\"margin-bottom: 10px;\">\u003cbr>Matthew DiVito, \u003ci>white_xmas\u003c/i>, 2012.\u003cbr>\u003c/center>\n\u003cp>The gifs and video, made using a combination of After Effects and Cinema 4D, are both an expression of current technological power and a celebration of, or perhaps yearning for, its predecessors. Mr. Div’s work, which is only available online, takes advantage of, while picking apart, our screen-centered lives. Mr. Div asks us to please remember the magic offered by computers still in their infancy, and urges us to resist the screens’ subtle slide toward the mundane.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://mrdiv.tumblr.com/\">more information on Mr. Div\u003c/a>, visit mrdiv.tumblr.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/122897/mr_div_makes_tomorrows_gifs_today",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10122897",
"label": "arts"
},
"arts_122693": {
"type": "posts",
"id": "arts_122693",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "122693",
"score": null,
"sort": [
1372367682000
]
},
"guestAuthors": [],
"slug": "karen_kavett_the_bay_areas_last_youtuber",
"title": "Karen Kavett: The Bay Area's Last YouTuber?",
"publishDate": 1372367682,
"format": "standard",
"headTitle": "Karen Kavett: The Bay Area’s Last YouTuber? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>I recently sat down to chat with local graphic designer and YouTuber, Karen Kavett about her YouTube career and the changing state of online video. Karen, \u003ca href=\"https://www.youtube.com/user/xperpetualmotion\">xperpetualmotion on YouTube\u003c/a>, is the designer du jour online these days, a graduate of RISD and formerly a user experience designer at YouTube itself, she also works on book covers, posters for other popular video bloggers, musicians and authors.\u003c/p>\n\u003cp>Karen is gently shy in person, a contrast to the loud confident aspects of her personality that come out in front of the camera. Her channel, started in January of 2008, focuses mainly on crafting, graphic design and nerdery, and has grown to over 40,000 subscribers and 2.8 million views. But has her still-growing popularity changed her personal relationship to online video? Not really, she says. She is still an avid viewer and participates not only in the community of her audience but also the wider Vlogger/Nerdfighter/YouTuber fandom.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=iot5YFfyuNA&w=480&h=270]\u003c/p>\n\u003cp>We started off talking about her unique insight into the changing face of YouTube. The site was redesigned recently and some content creators are disappointed with the new approach to smaller channels. BryarlyBishop’s video \u003ca href=\"http://youtu.be/8oMezmItvcw\">Open Letter to YouTube\u003c/a> is a great example. The video accuses YouTube of pouring more money and resources into already thriving channels while leaving smaller creators to flounder. So I asked Karen her opinion on the matter. People don’t like change, she explained, but after working with the team designing the site she said, “I have a much better understanding of the site. It’s no longer a giant untouchable corporation. I know the people behind the decisions, I can picture them in meetings.”\u003c/p>\n\u003cp>She says the real trouble for new creators is not YouTube’s redesigns or lack of home page curation, but instead the appetites of incoming viewers. In a deep field Karen says, “Unless you are making the most amazing content anyone could ever see, it’s just hard to get a substantial audience to keep coming back.” She explained that the people being introduced to YouTube currently are used to more mainstream content interaction, just sitting back watching an episode and then moving on to something else. But Internet communities, and thus those subscription counters, are built on interaction, not simply watching one video, but coming back over and over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/karenkavett.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>YouTube’s decentralization of media production and consumption has simultaneously lead to a fragmentation of celebrity. Movie stars, comedians, musicians still have plenty of cache in mainstream media, as well as online, but the saturation of attention, and with it the power to draw audiences, has spread far and wide. Because the Internet specializes in the long tail of entertainment, Kavett explained, it allows geographically divergent communities interested in niche content and experiences to not only foster their own stars, but also dictate the socially acceptable level of attention. Internet celebs are not subjected to tabloid speculation, for example. When asked about her own level of recognition, she admitted to fans coming up to her, but only in the context of conventions like VidCon and LeakyCon.\u003c/p>\n\u003cp>And Kavett is a great example, just because YouTubers are separate from TV and movie performers and producers, doesn’t mean those older media have no effect on them. Los Angeles is the entertainment capital of the world and many online content creators are heading there not to break into the entertainment industry, but to be closer to each other. Collaboration is an integral part of the YouTube community and proximity makes sharing ideas, and being in each other’s videos that much easier. There has been a mass L.A. exodus of late, including all four of the Bay Area’s best known YouTubers: George Watsky, Hannah Hart, Tyler Oakley, and soon Karen herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://karenkavett.com/blog/\">more information about Kavett\u003c/a>, her designs or videos, go to karenkavett.com. \u003c/p>\n\n",
"blocks": [],
"excerpt": "An interview on the changing face of YouTube with Karen Kavett, also known as xperpetualmotion, whose channel on crafting, graphic design and general nerdery has garnered over 2.8 million views to date.",
"status": "publish",
"parent": 0,
"modified": 1726771522,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 671
},
"headData": {
"title": "Karen Kavett: The Bay Area's Last YouTuber? | KQED",
"description": "An interview on the changing face of YouTube with Karen Kavett, also known as xperpetualmotion, whose channel on crafting, graphic design and general nerdery has garnered over 2.8 million views to date.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Karen Kavett: The Bay Area's Last YouTuber?",
"datePublished": "2013-06-27T14:14:42-07:00",
"dateModified": "2024-09-19T11:45:22-07:00",
"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/122693/karen_kavett_the_bay_areas_last_youtuber",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I recently sat down to chat with local graphic designer and YouTuber, Karen Kavett about her YouTube career and the changing state of online video. Karen, \u003ca href=\"https://www.youtube.com/user/xperpetualmotion\">xperpetualmotion on YouTube\u003c/a>, is the designer du jour online these days, a graduate of RISD and formerly a user experience designer at YouTube itself, she also works on book covers, posters for other popular video bloggers, musicians and authors.\u003c/p>\n\u003cp>Karen is gently shy in person, a contrast to the loud confident aspects of her personality that come out in front of the camera. Her channel, started in January of 2008, focuses mainly on crafting, graphic design and nerdery, and has grown to over 40,000 subscribers and 2.8 million views. But has her still-growing popularity changed her personal relationship to online video? Not really, she says. She is still an avid viewer and participates not only in the community of her audience but also the wider Vlogger/Nerdfighter/YouTuber fandom.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iot5YFfyuNA'\n title='//www.youtube.com/embed/iot5YFfyuNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We started off talking about her unique insight into the changing face of YouTube. The site was redesigned recently and some content creators are disappointed with the new approach to smaller channels. BryarlyBishop’s video \u003ca href=\"http://youtu.be/8oMezmItvcw\">Open Letter to YouTube\u003c/a> is a great example. The video accuses YouTube of pouring more money and resources into already thriving channels while leaving smaller creators to flounder. So I asked Karen her opinion on the matter. People don’t like change, she explained, but after working with the team designing the site she said, “I have a much better understanding of the site. It’s no longer a giant untouchable corporation. I know the people behind the decisions, I can picture them in meetings.”\u003c/p>\n\u003cp>She says the real trouble for new creators is not YouTube’s redesigns or lack of home page curation, but instead the appetites of incoming viewers. In a deep field Karen says, “Unless you are making the most amazing content anyone could ever see, it’s just hard to get a substantial audience to keep coming back.” She explained that the people being introduced to YouTube currently are used to more mainstream content interaction, just sitting back watching an episode and then moving on to something else. But Internet communities, and thus those subscription counters, are built on interaction, not simply watching one video, but coming back over and over.\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>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/karenkavett.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>YouTube’s decentralization of media production and consumption has simultaneously lead to a fragmentation of celebrity. Movie stars, comedians, musicians still have plenty of cache in mainstream media, as well as online, but the saturation of attention, and with it the power to draw audiences, has spread far and wide. Because the Internet specializes in the long tail of entertainment, Kavett explained, it allows geographically divergent communities interested in niche content and experiences to not only foster their own stars, but also dictate the socially acceptable level of attention. Internet celebs are not subjected to tabloid speculation, for example. When asked about her own level of recognition, she admitted to fans coming up to her, but only in the context of conventions like VidCon and LeakyCon.\u003c/p>\n\u003cp>And Kavett is a great example, just because YouTubers are separate from TV and movie performers and producers, doesn’t mean those older media have no effect on them. Los Angeles is the entertainment capital of the world and many online content creators are heading there not to break into the entertainment industry, but to be closer to each other. Collaboration is an integral part of the YouTube community and proximity makes sharing ideas, and being in each other’s videos that much easier. There has been a mass L.A. exodus of late, including all four of the Bay Area’s best known YouTubers: George Watsky, Hannah Hart, Tyler Oakley, and soon Karen herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://karenkavett.com/blog/\">more information about Kavett\u003c/a>, her designs or videos, go to karenkavett.com. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/122693/karen_kavett_the_bay_areas_last_youtuber",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10122693",
"label": "arts"
},
"arts_122262": {
"type": "posts",
"id": "arts_122262",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "122262",
"score": null,
"sort": [
1371596311000
]
},
"guestAuthors": [],
"slug": "and_an_extra_order_of_guacamelee",
"title": "And an Extra Order of Guacamelee!",
"publishDate": 1371596311,
"format": "standard",
"headTitle": "And an Extra Order of Guacamelee! | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Guacamelee!\u003c/i>, the new action-packed platformer from \u003ca href=\"http://guacamelee.com/\">Drinkbox Studios\u003c/a>, is a beat-’em-up brawler caught between the world of the living and the world of the dead. Pre-release \u003ci>Guacamelee!\u003c/i> was nominated for an Indiecade in 2012 and a 2013 Independent Games Festival award for Excellence in Visual Art, and now the fans are raving. While the game is everything many had hoped, it does have one crucial flaw.\u003c/p>\n\u003cp>But first the good stuff. \u003ci>Guacamelee!\u003c/i> is a rich, beautiful game that draws not only its visual style from Mexican culture, but also its storyline, characters and motifs from Mexican folklore. The world is littered with colorful detail, Day of the Dead-style paintings, luchador paraphernalia, Mexico’s dwindling jaguars, textured desert environments and even those all-important cans of “Holy Frijoles.” The myriad settings and the dynamic color keep every frame of this admittedly short game a joy to experience.\u003c/p>\n\u003cp>The combat and traversal build on the classic platformer model, focused on timing and precision. The game weaves in brawler elements, successfully mixing combos and special attacks, making platforming moves necessary for combat and vice versa, resulting in a unique and fantastically fun style of game play. “Pollo Power,” a mode that allows players to swap identities and become a chicken, is worth the price of admission alone.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=f6mZ2k6UpOc&w=480&h=270]\u003c/p>\n\u003cp>Set in and around one small Mexican village, the main character, Juan Aguacate, can’t catch a break in his normal life, but when El Presidente’s daughter (Juan’s true love) is kidnapped, he sets off to save the girl and the world from an evil charro skeleton. This is where my only substantial criticism pops up. Yet another rehashing of a tired trope, a helpless women is carted off to her doom so that the man, the player, has something to fight for. It’s just lazy storytelling, so lazy in fact they didn’t even give this damsel in distress a name.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Why is it not enough that an underworld badass is coming back to conquer the world with his evil armies? That seems like a good reason to fight without the gratuitous lady-napping. But this problem is systemic to all games, and it would be unfair to judge this otherwise wonderful and imaginative game entirely based on an industry-wide preference. If you are interested in just how pervasive this trope is, \u003ca href=\"http://youtu.be/X6p5AZp7r_Q\">Feminist Frequency\u003c/a> will walk you through the facts and history of gender in games.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Dispite its flaws, \u003ci>Guacamelee’s\u003c/i> glowing reception is well deserved; and the makers have been inundated with fan art including this poster by Neomonki:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guacamelee1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>Guacamelee!\u003c/i> is beautiful, with great gameplay, and a unique point of view. It is absolutely worth a play and hopefully, as the creators gain more experience, they will break with traditional tropes and make their stories just as stellar as their art and action already are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://guacamelee.com/\">more information\u003c/a>, visit guacamelee.com.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Drinkbox Studios' rich, beautiful game draws its visual style from Mexican culture, and its storyline, characters and motifs from Mexican folklore.",
"status": "publish",
"parent": 0,
"modified": 1726771526,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 514
},
"headData": {
"title": "And an Extra Order of Guacamelee! | KQED",
"description": "Drinkbox Studios' rich, beautiful game draws its visual style from Mexican culture, and its storyline, characters and motifs from Mexican folklore.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "And an Extra Order of Guacamelee!",
"datePublished": "2013-06-18T15:58:31-07:00",
"dateModified": "2024-09-19T11:45:26-07:00",
"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/122262/and_an_extra_order_of_guacamelee",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Guacamelee!\u003c/i>, the new action-packed platformer from \u003ca href=\"http://guacamelee.com/\">Drinkbox Studios\u003c/a>, is a beat-’em-up brawler caught between the world of the living and the world of the dead. Pre-release \u003ci>Guacamelee!\u003c/i> was nominated for an Indiecade in 2012 and a 2013 Independent Games Festival award for Excellence in Visual Art, and now the fans are raving. While the game is everything many had hoped, it does have one crucial flaw.\u003c/p>\n\u003cp>But first the good stuff. \u003ci>Guacamelee!\u003c/i> is a rich, beautiful game that draws not only its visual style from Mexican culture, but also its storyline, characters and motifs from Mexican folklore. The world is littered with colorful detail, Day of the Dead-style paintings, luchador paraphernalia, Mexico’s dwindling jaguars, textured desert environments and even those all-important cans of “Holy Frijoles.” The myriad settings and the dynamic color keep every frame of this admittedly short game a joy to experience.\u003c/p>\n\u003cp>The combat and traversal build on the classic platformer model, focused on timing and precision. The game weaves in brawler elements, successfully mixing combos and special attacks, making platforming moves necessary for combat and vice versa, resulting in a unique and fantastically fun style of game play. “Pollo Power,” a mode that allows players to swap identities and become a chicken, is worth the price of admission alone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f6mZ2k6UpOc'\n title='//www.youtube.com/embed/f6mZ2k6UpOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Set in and around one small Mexican village, the main character, Juan Aguacate, can’t catch a break in his normal life, but when El Presidente’s daughter (Juan’s true love) is kidnapped, he sets off to save the girl and the world from an evil charro skeleton. This is where my only substantial criticism pops up. Yet another rehashing of a tired trope, a helpless women is carted off to her doom so that the man, the player, has something to fight for. It’s just lazy storytelling, so lazy in fact they didn’t even give this damsel in distress a name.\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>Why is it not enough that an underworld badass is coming back to conquer the world with his evil armies? That seems like a good reason to fight without the gratuitous lady-napping. But this problem is systemic to all games, and it would be unfair to judge this otherwise wonderful and imaginative game entirely based on an industry-wide preference. If you are interested in just how pervasive this trope is, \u003ca href=\"http://youtu.be/X6p5AZp7r_Q\">Feminist Frequency\u003c/a> will walk you through the facts and history of gender in games.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Dispite its flaws, \u003ci>Guacamelee’s\u003c/i> glowing reception is well deserved; and the makers have been inundated with fan art including this poster by Neomonki:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/guacamelee1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003ci>Guacamelee!\u003c/i> is beautiful, with great gameplay, and a unique point of view. It is absolutely worth a play and hopefully, as the creators gain more experience, they will break with traditional tropes and make their stories just as stellar as their art and action already are.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://guacamelee.com/\">more information\u003c/a>, visit guacamelee.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/122262/and_an_extra_order_of_guacamelee",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10122262",
"label": "arts"
},
"arts_121772": {
"type": "posts",
"id": "arts_121772",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "121772",
"score": null,
"sort": [
1370554104000
]
},
"guestAuthors": [],
"slug": "pbs_idea_channel",
"title": "Have You Checked Out the PBS Idea Channel?",
"publishDate": 1370554104,
"format": "standard",
"headTitle": "Have You Checked Out the PBS Idea Channel? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The PBS Idea Channel is a YouTube webseries that explores the philosophical repercussions of the Internet, and the evolving relationship between art and technology. Hosted by Mike Rugnetta (@mikerugnetta), the Idea Channel is doing for Internet culture and technology what numerous cultural theorists have done in the past for burgeoning art movements or world-changing events. It is revealing the complex meaning behind the apps and games and memes and music many of us participate in everyday. The moral repercussions of certain video games; how Internet culture in the form of gifs affected our most recent election; authenticity in technologically enhanced pop music; and even questions about reality are all up for discussion on the Idea Channel.\u003c/p>\n\u003cp>Started in March of 2012, Idea Channel’s weekly videos are steadily gaining momentum, now rocking over 200k subscribers. The fast-paced editing, packed with gifs and memes, and snappy well-written dialogue reinforce its Internet-centric themes while maintaining that oh-so-YouTube intimate, personal feel.\u003c/p>\n\u003cp>Many of these topics are things that get under the skin of traditional considerations on art. For Example, PBS Idea Channel recently pondered whether Instagram’s impact on photography? The app delivers not only a stream of beautiful and well-constructed images, but also hashtags that change our experience in arguably significant ways. Idea Channel drills down to examine how the phenomenon of hashtagged metadata changes the experience of photos for the viewers. For example, what if your only experience of the photograph \u003ca href=\"http://en.wikipedia.org/wiki/Raising_the_Flag_on_Iwo_Jima\">\u003ci>Raising the Flag on Iwo Jima\u003c/i>\u003c/a> had been with #taketwo labeled along the bottom, or the \u003ca href=\"http://en.wikipedia.org/wiki/Earthrise\">first image of Earth from the moon\u003c/a> labeled with #hometown or #nofilter? \u003c/p>\n\u003cp>Or take Internet memes — the LOLcats and Rage comics of the world. Should these images be considered part of the long-standing and equally long-fought-over canon of capital-A art? Idea channel seems to think so. “People are creating images and sharing them with strangers, for the purpose of communicating their personal experiences? That my friends, is art.” What about nail art, the practice of making paintings or even tiny sculptures on fingernails. Is it just another canvas for the ideas and problems tackled in contemporary art?\u003c/p>\n\u003cp>This video, \u003ci>Is the Web Browser Replacing the Art Gallery?\u003c/i>, exemplifies the PBS Idea Channel’s fascinating programming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=rdEZjZXirbA&w=480&h=270]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Idea Channel challenges the borders of our artistic and cultural categories with videos on Super Mario Brothers as a great work of surrealist art, or Hello Kitty as a pinnacle of Modernism, but they also bring to mind moral questions as well. Did you know that the makers of \u003ci>Call of Duty\u003c/i>, the massively popular first-person military shooter, are required to license the guns in the game from actual real world gun manufacturers? The result being when you buy a copy of the game you are contributing — even if just a little bit — to the creation and perpetuation of arms. Idea Channel doesn’t say you shouldn’t buy the game exactly, just that you should understand the moral complexity hidden within the decision. For anyone interested in the present and future of art, culture and technology, PBS Idea Channel is a must see.\u003c/p>\n\n",
"blocks": [],
"excerpt": "If you haven't yet discovered PBS' YouTube phenom, and are interested in how the Internet is affecting contemporary art and culture, then you should definitely spend some time watching these wildly creative explorations of online culture.",
"status": "publish",
"parent": 0,
"modified": 1726771528,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 554
},
"headData": {
"title": "Have You Checked Out the PBS Idea Channel? | KQED",
"description": "If you haven't yet discovered PBS' YouTube phenom, and are interested in how the Internet is affecting contemporary art and culture, then you should definitely spend some time watching these wildly creative explorations of online culture.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Have You Checked Out the PBS Idea Channel?",
"datePublished": "2013-06-06T14:28:24-07:00",
"dateModified": "2024-09-19T11:45:28-07:00",
"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/121772/pbs_idea_channel",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The PBS Idea Channel is a YouTube webseries that explores the philosophical repercussions of the Internet, and the evolving relationship between art and technology. Hosted by Mike Rugnetta (@mikerugnetta), the Idea Channel is doing for Internet culture and technology what numerous cultural theorists have done in the past for burgeoning art movements or world-changing events. It is revealing the complex meaning behind the apps and games and memes and music many of us participate in everyday. The moral repercussions of certain video games; how Internet culture in the form of gifs affected our most recent election; authenticity in technologically enhanced pop music; and even questions about reality are all up for discussion on the Idea Channel.\u003c/p>\n\u003cp>Started in March of 2012, Idea Channel’s weekly videos are steadily gaining momentum, now rocking over 200k subscribers. The fast-paced editing, packed with gifs and memes, and snappy well-written dialogue reinforce its Internet-centric themes while maintaining that oh-so-YouTube intimate, personal feel.\u003c/p>\n\u003cp>Many of these topics are things that get under the skin of traditional considerations on art. For Example, PBS Idea Channel recently pondered whether Instagram’s impact on photography? The app delivers not only a stream of beautiful and well-constructed images, but also hashtags that change our experience in arguably significant ways. Idea Channel drills down to examine how the phenomenon of hashtagged metadata changes the experience of photos for the viewers. For example, what if your only experience of the photograph \u003ca href=\"http://en.wikipedia.org/wiki/Raising_the_Flag_on_Iwo_Jima\">\u003ci>Raising the Flag on Iwo Jima\u003c/i>\u003c/a> had been with #taketwo labeled along the bottom, or the \u003ca href=\"http://en.wikipedia.org/wiki/Earthrise\">first image of Earth from the moon\u003c/a> labeled with #hometown or #nofilter? \u003c/p>\n\u003cp>Or take Internet memes — the LOLcats and Rage comics of the world. Should these images be considered part of the long-standing and equally long-fought-over canon of capital-A art? Idea channel seems to think so. “People are creating images and sharing them with strangers, for the purpose of communicating their personal experiences? That my friends, is art.” What about nail art, the practice of making paintings or even tiny sculptures on fingernails. Is it just another canvas for the ideas and problems tackled in contemporary art?\u003c/p>\n\u003cp>This video, \u003ci>Is the Web Browser Replacing the Art Gallery?\u003c/i>, exemplifies the PBS Idea Channel’s fascinating programming.\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>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rdEZjZXirbA'\n title='//www.youtube.com/embed/rdEZjZXirbA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Idea Channel challenges the borders of our artistic and cultural categories with videos on Super Mario Brothers as a great work of surrealist art, or Hello Kitty as a pinnacle of Modernism, but they also bring to mind moral questions as well. Did you know that the makers of \u003ci>Call of Duty\u003c/i>, the massively popular first-person military shooter, are required to license the guns in the game from actual real world gun manufacturers? The result being when you buy a copy of the game you are contributing — even if just a little bit — to the creation and perpetuation of arms. Idea Channel doesn’t say you shouldn’t buy the game exactly, just that you should understand the moral complexity hidden within the decision. For anyone interested in the present and future of art, culture and technology, PBS Idea Channel is a must see.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/121772/pbs_idea_channel",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10121772",
"label": "arts"
},
"arts_121283": {
"type": "posts",
"id": "arts_121283",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "121283",
"score": null,
"sort": [
1369587596000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1369587596,
"format": "standard",
"title": "CCA's Annual Fashion Show, or How Everything I Know About Fashion I Learned from a 13 Year Old",
"headTitle": "CCA’s Annual Fashion Show, or How Everything I Know About Fashion I Learned from a 13 Year Old | KQED",
"content": "\u003cp>As Gilda Radner once said, “I base my fashion taste on what doesn’t itch.” But nonetheless, I sacrificed a perfectly good night of TV watching to escort my 11 year old to the \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">\u003c/a>California College of the Arts Fashion Show last Friday, May 17, 2013. \u003c/p>\n\u003cp>The sold out and much touted annual event showcases the thesis collections of CCA’s graduating undergraduate fashion designers. The show is juried by industry professionals and worn by runway models. And even though the designs are impressive, the show was fairly wasted on me.\u003c/p>\n\u003cp>I’m a continual disappointment –- not to mention an embarrassment — to my daughter; my wardrobe consists of Keds, Levis and old hoodies. Still, in this, my first fashion show, I was certainly in awe of what other people can pull off.\u003c/p>\n\u003cp>What I know about the world of high fashion is pretty much based on \u003ca href=\"http://www.imdb.com/title/tt0196229/\">\u003ci>Zoolander\u003c/i>\u003c/a>. When I think of risky, innovative design that pushes the envelope, I think of Carol Burnett as Scarlet O’Hara, wearing window drapes to impress Rhett Butler.\u003c/p>\n\u003cp>So I enlisted Sasha, a 13-year-old expert in the field, to help me assess the CCA showcase. She liked Carlsbad Oster’s collection, which she assessed as “fun and young.” She thought it was a very cool take on sports wear and said she would wear it. Sasha also liked Polly Lai’s collection, \u003ci>Doll in a Bubble\u003c/i>, noting that the name reflected the clothes well. They were delicate and light and summery and included terrific polka dot socks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Haven\u003c/i>, a collection from Irina Murphy, was one of Sasha’s favorites. “It was dark but not sad or evil,” Sasha said. I also liked this one — as it was the least revealing, covers a lot of skin, and I could see it in my own closet. Or, as the designer put it, “humans are fragile. My garments shelter precarious beings from the outside world.”\u003c/p>\n\u003cp>I could also see myself wearing Ann Anglim’s collection, \u003ci>Melancholia\u003c/i>. “Melancholia speaks of loneliness and suffering,” the catalog says. “The textures remind us that hiding is a form of survival.” Both Murphy and Anglim’s contributions were well-suited for the middle-aged mom.\u003c/p>\n\u003cp>Sasha aptly pointed out which ensembles were polished and well-finished, cohesive, edgy, electric, or too “matchy.” I noted that the model’s postures and facial inexpressiveness evoked parodies of their occupation. Likewise, I couldn’t help but be entertained by the high concepts shaping the designers’ visions.\u003c/p>\n\u003cp>One collection is inspired by a Mexican folk tale’s “most stark and painful moments and culminates in the concepts of sensuality, murderous sin, and remorse.” Another, titled \u003ci>Derelicte\u003c/i>, is inspired by the homeless people who make “this wonderful city so unique.” One line reflects “the mythological Greek vision of a beautiful meadow in eternal summer, the land of ethereal transitions of the beloved ones of Zeus.” The collection \u003ci>Nova\u003c/i> is fueled by “the grace of shooting stars and contracts the universe into a flash of light, electrifying the senses as it expands the mind.” (Wait, one of those was actually from \u003ci>Zoolander\u003c/i>.)\u003c/p>\n\u003cp>Tiśina T. Parker was the recipient of \u003ci>7×7\u003c/i> magazine’s Emerging Talent Award. Her collection, \u003ci>4th Dimension\u003c/i>, uses mathematical algorithms based on geometric patterns to create dresses with cut-outs that reminded me of an \u003ca href=\"http://www.imdb.com/title/tt0099487/\">Edward Scissorhands\u003c/a> aesthetic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CCA’s 2013 Annual Fashion Show took place on May 17, 2013 at the CCA San Francisco campus. For \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">more information\u003c/a> about the show, visit cca.edu/fashion show.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 630,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705049955,
"excerpt": "A writer takes cues from a 13-year-old fashionista while viewing CCA's annual fashion show.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A writer takes cues from a 13-year-old fashionista while viewing CCA's annual fashion show.",
"title": "CCA's Annual Fashion Show, or How Everything I Know About Fashion I Learned from a 13 Year Old | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CCA's Annual Fashion Show, or How Everything I Know About Fashion I Learned from a 13 Year Old",
"datePublished": "2013-05-26T09:59:56-07:00",
"dateModified": "2024-01-12T00:59:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ccas_annual_fashion_show_or_how_everything_i_know_about_fashion_i_learned_from_a_13_year_old",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/design/design-event/",
"sticky": false,
"path": "/arts/121283/ccas_annual_fashion_show_or_how_everything_i_know_about_fashion_i_learned_from_a_13_year_old",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Gilda Radner once said, “I base my fashion taste on what doesn’t itch.” But nonetheless, I sacrificed a perfectly good night of TV watching to escort my 11 year old to the \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">\u003c/a>California College of the Arts Fashion Show last Friday, May 17, 2013. \u003c/p>\n\u003cp>The sold out and much touted annual event showcases the thesis collections of CCA’s graduating undergraduate fashion designers. The show is juried by industry professionals and worn by runway models. And even though the designs are impressive, the show was fairly wasted on me.\u003c/p>\n\u003cp>I’m a continual disappointment –- not to mention an embarrassment — to my daughter; my wardrobe consists of Keds, Levis and old hoodies. Still, in this, my first fashion show, I was certainly in awe of what other people can pull off.\u003c/p>\n\u003cp>What I know about the world of high fashion is pretty much based on \u003ca href=\"http://www.imdb.com/title/tt0196229/\">\u003ci>Zoolander\u003c/i>\u003c/a>. When I think of risky, innovative design that pushes the envelope, I think of Carol Burnett as Scarlet O’Hara, wearing window drapes to impress Rhett Butler.\u003c/p>\n\u003cp>So I enlisted Sasha, a 13-year-old expert in the field, to help me assess the CCA showcase. She liked Carlsbad Oster’s collection, which she assessed as “fun and young.” She thought it was a very cool take on sports wear and said she would wear it. Sasha also liked Polly Lai’s collection, \u003ci>Doll in a Bubble\u003c/i>, noting that the name reflected the clothes well. They were delicate and light and summery and included terrific polka dot socks.\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>\u003ci>Haven\u003c/i>, a collection from Irina Murphy, was one of Sasha’s favorites. “It was dark but not sad or evil,” Sasha said. I also liked this one — as it was the least revealing, covers a lot of skin, and I could see it in my own closet. Or, as the designer put it, “humans are fragile. My garments shelter precarious beings from the outside world.”\u003c/p>\n\u003cp>I could also see myself wearing Ann Anglim’s collection, \u003ci>Melancholia\u003c/i>. “Melancholia speaks of loneliness and suffering,” the catalog says. “The textures remind us that hiding is a form of survival.” Both Murphy and Anglim’s contributions were well-suited for the middle-aged mom.\u003c/p>\n\u003cp>Sasha aptly pointed out which ensembles were polished and well-finished, cohesive, edgy, electric, or too “matchy.” I noted that the model’s postures and facial inexpressiveness evoked parodies of their occupation. Likewise, I couldn’t help but be entertained by the high concepts shaping the designers’ visions.\u003c/p>\n\u003cp>One collection is inspired by a Mexican folk tale’s “most stark and painful moments and culminates in the concepts of sensuality, murderous sin, and remorse.” Another, titled \u003ci>Derelicte\u003c/i>, is inspired by the homeless people who make “this wonderful city so unique.” One line reflects “the mythological Greek vision of a beautiful meadow in eternal summer, the land of ethereal transitions of the beloved ones of Zeus.” The collection \u003ci>Nova\u003c/i> is fueled by “the grace of shooting stars and contracts the universe into a flash of light, electrifying the senses as it expands the mind.” (Wait, one of those was actually from \u003ci>Zoolander\u003c/i>.)\u003c/p>\n\u003cp>Tiśina T. Parker was the recipient of \u003ci>7×7\u003c/i> magazine’s Emerging Talent Award. Her collection, \u003ci>4th Dimension\u003c/i>, uses mathematical algorithms based on geometric patterns to create dresses with cut-outs that reminded me of an \u003ca href=\"http://www.imdb.com/title/tt0099487/\">Edward Scissorhands\u003c/a> aesthetic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>CCA’s 2013 Annual Fashion Show took place on May 17, 2013 at the CCA San Francisco campus. For \u003ca href=\"http://www.cca.edu/academics/fashion-design/show\">more information\u003c/a> about the show, visit cca.edu/fashion show.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/121283/ccas_annual_fashion_show_or_how_everything_i_know_about_fashion_i_learned_from_a_13_year_old",
"authors": [
"144"
],
"categories": [
"arts_76",
"arts_75"
],
"featImg": "arts_10121283",
"label": "arts"
},
"arts_120680": {
"type": "posts",
"id": "arts_120680",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "120680",
"score": null,
"sort": [
1368233880000
]
},
"guestAuthors": [],
"slug": "my_drunk_kitchen_and_youtubes_self-deprecating_goddess",
"title": "'My Drunk Kitchen' and YouTube's Self-Deprecating Goddess",
"publishDate": 1368233880,
"format": "standard",
"headTitle": "‘My Drunk Kitchen’ and YouTube’s Self-Deprecating Goddess | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In the mood for a cooking show? \u003ci>My Drunk Kitchen\u003c/i> is probably the worst place to start. The show is a YouTube cooking and comedy series created by Hannah “Harto” Hart, a native San Franciscan and Japanese translator living in Los Angeles. The show centers around Hannah cooking, baking, or otherwise ‘kitchening,’ while simultaneously drinking large quantities of various alcohol. It’s packed full of puns, dark humor and catchphrases galore; \u003ci>My Drunk Kitchen\u003c/i> is a funny reality check in the face of the perfectly clean, always-turns-out-great television cooking shows.\u003c/p>\n\u003cp>While it may be hard to see what audiences find so appealing about a drunk girl getting silly on a not-so-much-cooking-going-on cooking show, the show is basking in the age-old satisfaction of deconstruction. No idea what that means? Here’s an example, if you’ve been on the internet lately you may have seen this image making the rounds: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/10/drunkkitchen1.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The top image shows a set of beautifully rendered Cookie Monster cupcakes someone posted on the popular image and idea sharing site Pinterest. Below the professional version is a fan’s (somewhat lazy) attempt to remake the cupcakes. To say they didn’t come out well is an understatement. The frosting eyes sliding apart give the remade Cookie Monsters something of a grotesque sheen. \u003ci>My Drunk Kitchen\u003c/i>, much like this visual meme, takes self-deprecation of one’s skills to a whole new level. The visual presentation of the failed attempt side-by-side with the original food glorifies the ‘good’ version but also helps to deconstruct the original image as something made, photographed and Photoshopped by experienced ‘professionals’.\u003c/p>\n\u003cp>This is not the first time a cooking show has made a name for itself by stripping back the perfected reality of other cooking shows. \u003ci>My Drunk Kitchen\u003c/i> is a natural internet progression from shows like Alton Brown’s \u003ci>Good Eats\u003c/i>, which ran for a mind boggling 14 seasons. \u003ci>Good Eats\u003c/i> focused on the science of cooking, providing explanations of how food chemicals interact and illustrating what was going on inside the pot. What made the show great to watch was its Brechtian reveals of the set and crew inside of the sound stage. That on-screen refrigerator? It was betrayed as a functionless prop early on by frequent visits from the mysterious and often-cloaked-in-mist, Lady of Refrigerator, a nutritionist living in Alton’s fridge. The walls of the kitchen could be moved. Shots could be taken from inside the oven or cupboard. Puppets were frequent guests, a chalkboard dropped from the ceiling, and the crew often appeared on camera playing recurring, food-related characters. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/nnwPtr0SENQ?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Just like the ‘Nailed It’ meme and \u003ci>Good Eats\u003c/i>, \u003ci>My Drunk Kitchen\u003c/i> reveals the abnormalcy of perfect kitchen creations. The show instead takes on the question: what would a cooking show be without the television kitchens, the sous chefs, the set designers, the cameramen, the makeup artist, the cooked-ahead, plate-perfect presentation, the beautiful lighting, the retakes, and the scripts? The levels of filtration and alteration between the viewer, the on-screen presentation and what is ‘real’ are multitudinous. \u003ci>My Drunk Kitchen\u003c/i> pares down the food show to one drunk girl, a camera, and some jump cuts. So while still mediated by editing, the show repositions cooking back in our own kitchens (even recently launching a tour in which Hannah goes around the country filming with her fans in their own kitchens). An experiment in reality, \u003ci>My Drunk Kitchen\u003c/i> cooks without much skill, but with plenty of wine and silly puns to make even bad cooking really enjoyable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>View \u003ca href=\"http://hartoandco.com/my-drunk-kitchen/\">\u003ci>My Drunk Kitchen\u003c/i>\u003c/a> online at hartoandco.com/my-drunk-kitchen.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Hannah Hart brings brings messy reality back into the kitchen in her online series \u003ci>My Drunk Kitchen\u003c/i>.",
"status": "publish",
"parent": 0,
"modified": 1726771532,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 637
},
"headData": {
"title": "'My Drunk Kitchen' and YouTube's Self-Deprecating Goddess | KQED",
"description": "Hannah Hart brings brings messy reality back into the kitchen in her online series My Drunk Kitchen.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'My Drunk Kitchen' and YouTube's Self-Deprecating Goddess",
"datePublished": "2013-05-10T17:58:00-07:00",
"dateModified": "2024-09-19T11:45:32-07:00",
"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/120680/my_drunk_kitchen_and_youtubes_self-deprecating_goddess",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the mood for a cooking show? \u003ci>My Drunk Kitchen\u003c/i> is probably the worst place to start. The show is a YouTube cooking and comedy series created by Hannah “Harto” Hart, a native San Franciscan and Japanese translator living in Los Angeles. The show centers around Hannah cooking, baking, or otherwise ‘kitchening,’ while simultaneously drinking large quantities of various alcohol. It’s packed full of puns, dark humor and catchphrases galore; \u003ci>My Drunk Kitchen\u003c/i> is a funny reality check in the face of the perfectly clean, always-turns-out-great television cooking shows.\u003c/p>\n\u003cp>While it may be hard to see what audiences find so appealing about a drunk girl getting silly on a not-so-much-cooking-going-on cooking show, the show is basking in the age-old satisfaction of deconstruction. No idea what that means? Here’s an example, if you’ve been on the internet lately you may have seen this image making the rounds: \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/05/10/drunkkitchen1.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The top image shows a set of beautifully rendered Cookie Monster cupcakes someone posted on the popular image and idea sharing site Pinterest. Below the professional version is a fan’s (somewhat lazy) attempt to remake the cupcakes. To say they didn’t come out well is an understatement. The frosting eyes sliding apart give the remade Cookie Monsters something of a grotesque sheen. \u003ci>My Drunk Kitchen\u003c/i>, much like this visual meme, takes self-deprecation of one’s skills to a whole new level. The visual presentation of the failed attempt side-by-side with the original food glorifies the ‘good’ version but also helps to deconstruct the original image as something made, photographed and Photoshopped by experienced ‘professionals’.\u003c/p>\n\u003cp>This is not the first time a cooking show has made a name for itself by stripping back the perfected reality of other cooking shows. \u003ci>My Drunk Kitchen\u003c/i> is a natural internet progression from shows like Alton Brown’s \u003ci>Good Eats\u003c/i>, which ran for a mind boggling 14 seasons. \u003ci>Good Eats\u003c/i> focused on the science of cooking, providing explanations of how food chemicals interact and illustrating what was going on inside the pot. What made the show great to watch was its Brechtian reveals of the set and crew inside of the sound stage. That on-screen refrigerator? It was betrayed as a functionless prop early on by frequent visits from the mysterious and often-cloaked-in-mist, Lady of Refrigerator, a nutritionist living in Alton’s fridge. The walls of the kitchen could be moved. Shots could be taken from inside the oven or cupboard. Puppets were frequent guests, a chalkboard dropped from the ceiling, and the crew often appeared on camera playing recurring, food-related characters. \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>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"http://www.youtube.com/embed/nnwPtr0SENQ?rel=0\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>Just like the ‘Nailed It’ meme and \u003ci>Good Eats\u003c/i>, \u003ci>My Drunk Kitchen\u003c/i> reveals the abnormalcy of perfect kitchen creations. The show instead takes on the question: what would a cooking show be without the television kitchens, the sous chefs, the set designers, the cameramen, the makeup artist, the cooked-ahead, plate-perfect presentation, the beautiful lighting, the retakes, and the scripts? The levels of filtration and alteration between the viewer, the on-screen presentation and what is ‘real’ are multitudinous. \u003ci>My Drunk Kitchen\u003c/i> pares down the food show to one drunk girl, a camera, and some jump cuts. So while still mediated by editing, the show repositions cooking back in our own kitchens (even recently launching a tour in which Hannah goes around the country filming with her fans in their own kitchens). An experiment in reality, \u003ci>My Drunk Kitchen\u003c/i> cooks without much skill, but with plenty of wine and silly puns to make even bad cooking really enjoyable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>View \u003ca href=\"http://hartoandco.com/my-drunk-kitchen/\">\u003ci>My Drunk Kitchen\u003c/i>\u003c/a> online at hartoandco.com/my-drunk-kitchen.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/120680/my_drunk_kitchen_and_youtubes_self-deprecating_goddess",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10120680",
"label": "arts"
},
"arts_119489": {
"type": "posts",
"id": "arts_119489",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "119489",
"score": null,
"sort": [
1366142607000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1366142607,
"format": "standard",
"title": "Bigger, Better, Snazzier: The Exploratorium Reopens",
"headTitle": "Bigger, Better, Snazzier: The Exploratorium Reopens | KQED",
"content": "\u003cp>Most of us take it as a given that “look don’t touch” is no way to encourage budding scientists. And every good teacher knows the stay-in-your-seats, nose-in-your-textbooks approach to pedagogy is no way to get anyone interested in the natural world. But when San Francisco’s Exploratorium first opened in 1969, it pioneered the practice of hands-on “informal learning” through real life experience.\u003c/p>\n\u003cp>Today visitors to the \u003ca href=\"http://www.exploratorium.edu\">Exploratorium\u003c/a> know the place as a giant fun-house of sensory stimulation and touch-and-feel scientific experimentation. Over the past 43 years, loads of Bay Area families have made the trek to the Palace of Fine Arts so their kids can tinker to their hearts’ delight.\u003c/p>\n\u003cp> As of Thursday, April 17, 2013, the long schlep is over. From 10:00am until 11:00pm on \u003ca href=\"http://www.exploratorium.edu/visit/opening/april17\">opening day\u003c/a>, the new Exploratorium at Pier 15 will host outdoor exhibits, demonstrations, and activities to celebrate its lovely indoor/outdoor space just a few blocks from the Ferry building and the Embarcadero BART. The museum’s increased accessibility means it’s not just a locals-only secrete anymore: the bridge-and-ferry crowd, not to mention the tourists are sure to swarm to the museum after a pastry at the Ferry Building.\u003c/p>\n\u003cp>One of the first things you see at the new facility is a sign that says “You Can’t Fail a Museum.” And with three times more space and 150 new exhibits to discover, you can’t age out of it either. The experience begins even before you enter the museum: the atrium features visitor lockers that become musical notes when you hold the handles. The new site expands on the museum’s groundbreaking tradition to offer exhibits that encourage touching, tinkering, and interactive investigating.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/16/explo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>George Cogan, the new Chairman of the Exploratorium’s Board of Directors, said, “The bigger mission of the Exploratorium is to foster a more perfect democracy.” The museum seeks to inspire visitors to think for themselves, rather than accept whatever truth is marketed to them. “Science is too important to leave to politicians,” Cogan continued. “We as citizens have a responsibility to learn about these things and ask questions that influence what we do around the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Frank Oppenheimer founded the Exploratorium in 1969, the concept of out-of-the classroom education was novel. After a scientific career in service of the government (in the 1940s he worked with his brother Robert on the Manhattan Project), Frank found himself blacklisted and turned to high school science, building a range of creative teaching methods. He took his students to the dump, scavenging for used abandoned auto parts to teach principles of mechanics, heat, and electricity.\u003c/p>\n\u003cp>Frank’s dedication to pedagogy continues through Exploratorium programming today. Currently the museum’s Teacher Institute trains over 500 teachers a year in such exploratory curriculum, improving on — if it’s possible — classroom field trips to the dump. Additionally, 80% of science centers around the world use a version of Exploratorium exhibits. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/16/explo2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The museum is, of course, primarily a place for DIY exploration. And one of the coolest things about the Exploratorium is that it’s a place where you can trick kids into learning. Pedaling on a stationary bike shows you how much energy it takes to power a radio, a light bulb, or a fan. The human behavior gallery can teach you how to detect a poker face. In the Seeing & Listening gallery, kids can use their jawbones to listen — like snakes do. And in the Tinkering Studio, visitors can build, make, hack, create, invent, and experiment.\u003c/p>\n\u003cp>On the Bay side, the explorations move toward natural science, with a Bay Observatory and exhibits about water, fog, wind, rain, sea life, and tides. Outdoor exhibits include a Fog Bridge, a 150-foot long pedestrian bridge designed by Japanese interdisciplinary artist Fujiko Nakaya. Nakaya warns that the immersive fog can be disorienting. People can lose their balance. Kids can get freaked out. But, she says, “Let them cry. It’s only for a few minutes.” \u003c/p>\n\u003cp>The next Exploratorium is bigger and snazzier, but the fundamental principles of its conception remain the same: always question, always seek out new ways of approaching scientific information. As you amble through the exhibits, someone may beckon you to stop at the Explainer’s Station. “Can you make your mind stop thinking?” a staff member calls out, ready to engage in conversation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Exploratorium opens at Pier 15 on April 17, 2013. For \u003ca href=\"http://www.exploratorium.edu\">more information\u003c/a> visit exploratorium.edu.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 793,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705050029,
"excerpt": "The new Exploratorium opens Thursday, April 17, 2013 at Pier 15 along the Embarcadero. Familiar exhibits combine with a new focus on the science of the Bay, with plenty of touching, tinkering, and interactive investigating for curious visitors of any age.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new Exploratorium opens Thursday, April 17, 2013 at Pier 15 along the Embarcadero. Familiar exhibits combine with a new focus on the science of the Bay, with plenty of touching, tinkering, and interactive investigating for curious visitors of any age.",
"title": "Bigger, Better, Snazzier: The Exploratorium Reopens | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bigger, Better, Snazzier: The Exploratorium Reopens",
"datePublished": "2013-04-16T13:03:27-07:00",
"dateModified": "2024-01-12T01:00:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bigger_better_snazzier_the_exploratorium_reopens",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/popculture/",
"sticky": false,
"path": "/arts/119489/bigger_better_snazzier_the_exploratorium_reopens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us take it as a given that “look don’t touch” is no way to encourage budding scientists. And every good teacher knows the stay-in-your-seats, nose-in-your-textbooks approach to pedagogy is no way to get anyone interested in the natural world. But when San Francisco’s Exploratorium first opened in 1969, it pioneered the practice of hands-on “informal learning” through real life experience.\u003c/p>\n\u003cp>Today visitors to the \u003ca href=\"http://www.exploratorium.edu\">Exploratorium\u003c/a> know the place as a giant fun-house of sensory stimulation and touch-and-feel scientific experimentation. Over the past 43 years, loads of Bay Area families have made the trek to the Palace of Fine Arts so their kids can tinker to their hearts’ delight.\u003c/p>\n\u003cp> As of Thursday, April 17, 2013, the long schlep is over. From 10:00am until 11:00pm on \u003ca href=\"http://www.exploratorium.edu/visit/opening/april17\">opening day\u003c/a>, the new Exploratorium at Pier 15 will host outdoor exhibits, demonstrations, and activities to celebrate its lovely indoor/outdoor space just a few blocks from the Ferry building and the Embarcadero BART. The museum’s increased accessibility means it’s not just a locals-only secrete anymore: the bridge-and-ferry crowd, not to mention the tourists are sure to swarm to the museum after a pastry at the Ferry Building.\u003c/p>\n\u003cp>One of the first things you see at the new facility is a sign that says “You Can’t Fail a Museum.” And with three times more space and 150 new exhibits to discover, you can’t age out of it either. The experience begins even before you enter the museum: the atrium features visitor lockers that become musical notes when you hold the handles. The new site expands on the museum’s groundbreaking tradition to offer exhibits that encourage touching, tinkering, and interactive investigating.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/16/explo.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>George Cogan, the new Chairman of the Exploratorium’s Board of Directors, said, “The bigger mission of the Exploratorium is to foster a more perfect democracy.” The museum seeks to inspire visitors to think for themselves, rather than accept whatever truth is marketed to them. “Science is too important to leave to politicians,” Cogan continued. “We as citizens have a responsibility to learn about these things and ask questions that influence what we do around the world.”\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>When Frank Oppenheimer founded the Exploratorium in 1969, the concept of out-of-the classroom education was novel. After a scientific career in service of the government (in the 1940s he worked with his brother Robert on the Manhattan Project), Frank found himself blacklisted and turned to high school science, building a range of creative teaching methods. He took his students to the dump, scavenging for used abandoned auto parts to teach principles of mechanics, heat, and electricity.\u003c/p>\n\u003cp>Frank’s dedication to pedagogy continues through Exploratorium programming today. Currently the museum’s Teacher Institute trains over 500 teachers a year in such exploratory curriculum, improving on — if it’s possible — classroom field trips to the dump. Additionally, 80% of science centers around the world use a version of Exploratorium exhibits. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/16/explo2.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003c/center>\n\u003cp>The museum is, of course, primarily a place for DIY exploration. And one of the coolest things about the Exploratorium is that it’s a place where you can trick kids into learning. Pedaling on a stationary bike shows you how much energy it takes to power a radio, a light bulb, or a fan. The human behavior gallery can teach you how to detect a poker face. In the Seeing & Listening gallery, kids can use their jawbones to listen — like snakes do. And in the Tinkering Studio, visitors can build, make, hack, create, invent, and experiment.\u003c/p>\n\u003cp>On the Bay side, the explorations move toward natural science, with a Bay Observatory and exhibits about water, fog, wind, rain, sea life, and tides. Outdoor exhibits include a Fog Bridge, a 150-foot long pedestrian bridge designed by Japanese interdisciplinary artist Fujiko Nakaya. Nakaya warns that the immersive fog can be disorienting. People can lose their balance. Kids can get freaked out. But, she says, “Let them cry. It’s only for a few minutes.” \u003c/p>\n\u003cp>The next Exploratorium is bigger and snazzier, but the fundamental principles of its conception remain the same: always question, always seek out new ways of approaching scientific information. As you amble through the exhibits, someone may beckon you to stop at the Explainer’s Station. “Can you make your mind stop thinking?” a staff member calls out, ready to engage in conversation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Exploratorium opens at Pier 15 on April 17, 2013. For \u003ca href=\"http://www.exploratorium.edu\">more information\u003c/a> visit exploratorium.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/119489/bigger_better_snazzier_the_exploratorium_reopens",
"authors": [
"144"
],
"categories": [
"arts_1",
"arts_75"
],
"featImg": "arts_10119489",
"label": "arts"
},
"arts_119117": {
"type": "posts",
"id": "arts_119117",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "119117",
"score": null,
"sort": [
1365487532000
]
},
"guestAuthors": [],
"slug": "a_ghost_in_the_machine",
"title": "A Ghost in the Machine",
"publishDate": 1365487532,
"format": "standard",
"headTitle": "A Ghost in the Machine | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Most of us love a good scary story. These days, with so much of our time spent gathered around the flickering glow and woody crackle of the internet, it’s there our new monsters are rising from the shadows. And what better place than a dark room and a lit screen for scaring ourselves a little? Humans have been scared of the dark since our inception, when our poor night vision was up against the eyes of the large predators looking to eat us while we slept. \u003c/p>\n\u003cp>In this vein, Slender Man is a tall, underfed, black-suited gentleman who goes around stalking children and YouTubers, causing memory loss, paranoia, and sometimes even the unstoppable urge to make fan art. Doesn’t sound too bad? Well to add to the freak-out factor: if you look too long, he snatches you with his tentacle arms and drags you back into the dark from whence he came.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=0BswJKtn_9o?rel=0&w=500&h=281]\u003c/p>\n\u003cp>Much like the urban legends of old, the Slender Man meme caught on in small communities, forums, and subreddits, and more specifically through a paranormal pictures Photoshop contest held by the Something Awful (SA) Forums in 2009. This wasn’t just any contest; the participants had to not only create spooky images, but also pass them off as real on several pro-paranormal forums. Two photographs, which lead to the entire subsequent phenomenon of Slender Man, were posted by user Victor Surge with the following descriptions:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/08/slenderman1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“‘we didn’t want to go, we didn’t want to kill them, but its persistent silence and outstretched arms horrified and comforted us at the same time…’ – 1983, photographer unknown, presumed dead.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/08/slenderman2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“One of two recovered photographs from the Stirling City Library blaze. Notable for being taken the day which fourteen children vanished and for what is referred to as ‘The Slender Man’. Deformities cited as film defects by officials. Fire at library occurred one week later. Actual photograph confiscated as evidence. – 1986, photographer: Mary Thomas, missing since June 13th, 1986.”\u003c/p>\n\u003cp>The popularity of these images and indeed just the idea of Slender Man grew online (mainly on \u003ca href=\"http://www.4chan.org/\">4chan\u003c/a>). In 2009 the \u003ci>\u003ca href=\"http://www.youtube.com/user/MarbleHornets\">Marble Hornets\u003c/a>\u003c/i> YouTube channel was launched with a mysterious ‘found footage’ video claiming to be from a friend who had subsequently disappeared; sounds familiar right? \u003ci>Marble Hornets\u003c/i> follows, both stylistically and with plot points, the cult 1999 horror film \u003ci>The Blair Witch Project\u003c/i> and the more recent but still well-loved \u003ci>Paranormal Activity\u003c/i>. The \u003ci>Marble Hornets\u003c/i> style lends itself especially well to an audience already steeped in amateur video. Those watching have a willingness to believe in and experience the results of in-depth research, making \u003ci>Marble Hornets\u003c/i> and the alternate reality game that goes along with it, lean-forward media in every way. This chronicling of “The Operator”, as \u003ci>Marble Hornets\u003c/i> refers to the creature, has, as of April 2013, over 290,000 subscribers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This new stage of life for the old ghost stories is strange and interesting. The Slender Man meme spread virally and was far more successful than its older counterparts partially because of its well timed arrival. It’s the first time the subcultures of the Internet have had an urban legend all their own. It used to be that stories spread through summer camps, camper to camper as an oral tradition, but the emotional high, the voluntary fear in a safe place, was highly dependent on who was telling the story. Get a dud and the legend fell flat, but in the right hands those stories scared the bejesus out of us. Now, online, scary stories take on an intensity beyond their childhood levels. The mythology doesn’t just stop at the end of the \u003ci>Marble Hornets\u003c/i> playlist. Fans, Slender Man ‘believers’, and conspiracy theorists alike contribute their own research and ‘first hand accounts’ to forum sites, adding to the layered mystery. Next time you’re in need of a good fright, pull up a browser; the scary awaits.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tracing the Slender Man meme from online contest to amateur videos to real-life chills.",
"status": "publish",
"parent": 0,
"modified": 1726771537,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 703
},
"headData": {
"title": "A Ghost in the Machine | KQED",
"description": "Tracing the Slender Man meme from online contest to amateur videos to real-life chills.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Ghost in the Machine",
"datePublished": "2013-04-08T23:05:32-07:00",
"dateModified": "2024-09-19T11:45:37-07:00",
"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/119117/a_ghost_in_the_machine",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us love a good scary story. These days, with so much of our time spent gathered around the flickering glow and woody crackle of the internet, it’s there our new monsters are rising from the shadows. And what better place than a dark room and a lit screen for scaring ourselves a little? Humans have been scared of the dark since our inception, when our poor night vision was up against the eyes of the large predators looking to eat us while we slept. \u003c/p>\n\u003cp>In this vein, Slender Man is a tall, underfed, black-suited gentleman who goes around stalking children and YouTubers, causing memory loss, paranoia, and sometimes even the unstoppable urge to make fan art. Doesn’t sound too bad? Well to add to the freak-out factor: if you look too long, he snatches you with his tentacle arms and drags you back into the dark from whence he came.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0BswJKtn_9o?rel=0'\n title='//www.youtube.com/embed/0BswJKtn_9o?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Much like the urban legends of old, the Slender Man meme caught on in small communities, forums, and subreddits, and more specifically through a paranormal pictures Photoshop contest held by the Something Awful (SA) Forums in 2009. This wasn’t just any contest; the participants had to not only create spooky images, but also pass them off as real on several pro-paranormal forums. Two photographs, which lead to the entire subsequent phenomenon of Slender Man, were posted by user Victor Surge with the following descriptions:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/08/slenderman1.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“‘we didn’t want to go, we didn’t want to kill them, but its persistent silence and outstretched arms horrified and comforted us at the same time…’ – 1983, photographer unknown, presumed dead.”\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>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/04/08/slenderman2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>“One of two recovered photographs from the Stirling City Library blaze. Notable for being taken the day which fourteen children vanished and for what is referred to as ‘The Slender Man’. Deformities cited as film defects by officials. Fire at library occurred one week later. Actual photograph confiscated as evidence. – 1986, photographer: Mary Thomas, missing since June 13th, 1986.”\u003c/p>\n\u003cp>The popularity of these images and indeed just the idea of Slender Man grew online (mainly on \u003ca href=\"http://www.4chan.org/\">4chan\u003c/a>). In 2009 the \u003ci>\u003ca href=\"http://www.youtube.com/user/MarbleHornets\">Marble Hornets\u003c/a>\u003c/i> YouTube channel was launched with a mysterious ‘found footage’ video claiming to be from a friend who had subsequently disappeared; sounds familiar right? \u003ci>Marble Hornets\u003c/i> follows, both stylistically and with plot points, the cult 1999 horror film \u003ci>The Blair Witch Project\u003c/i> and the more recent but still well-loved \u003ci>Paranormal Activity\u003c/i>. The \u003ci>Marble Hornets\u003c/i> style lends itself especially well to an audience already steeped in amateur video. Those watching have a willingness to believe in and experience the results of in-depth research, making \u003ci>Marble Hornets\u003c/i> and the alternate reality game that goes along with it, lean-forward media in every way. This chronicling of “The Operator”, as \u003ci>Marble Hornets\u003c/i> refers to the creature, has, as of April 2013, over 290,000 subscribers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This new stage of life for the old ghost stories is strange and interesting. The Slender Man meme spread virally and was far more successful than its older counterparts partially because of its well timed arrival. It’s the first time the subcultures of the Internet have had an urban legend all their own. It used to be that stories spread through summer camps, camper to camper as an oral tradition, but the emotional high, the voluntary fear in a safe place, was highly dependent on who was telling the story. Get a dud and the legend fell flat, but in the right hands those stories scared the bejesus out of us. Now, online, scary stories take on an intensity beyond their childhood levels. The mythology doesn’t just stop at the end of the \u003ci>Marble Hornets\u003c/i> playlist. Fans, Slender Man ‘believers’, and conspiracy theorists alike contribute their own research and ‘first hand accounts’ to forum sites, adding to the layered mystery. Next time you’re in need of a good fright, pull up a browser; the scary awaits.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/119117/a_ghost_in_the_machine",
"authors": [
"75"
],
"categories": [
"arts_75"
],
"featImg": "arts_10119117",
"label": "arts"
},
"arts_117576": {
"type": "posts",
"id": "arts_117576",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "117576",
"score": null,
"sort": [
1362904602000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1362904602,
"format": "standard",
"title": "'House of Cards': An Evolution in Content",
"headTitle": "‘House of Cards’: An Evolution in Content | KQED",
"content": "\u003cp>The first season of \u003ci>House of Cards\u003c/i>, a Netflix-original, Machiavellian political drama series, was released on February 1, 2013. In a little over a month the show has become the most streamed pieces of content in the country, according to Netflix. But with the internet already raving over the success of the show and Netflix frankly admitting to its pre-calculated popularity (essentially based on previous ratings of available Netflix videos) what is there left to talk about?\u003c/p>\n\u003cp>Well there’s what we watch, how we are watching it, and why. Short format vs. long format content is a big divider on the internet these days and Netflix seems to have made all the right moves for long-form viewing. Not only is \u003ci>House of Cards\u003c/i> calculated to win as a political drama with its use of technology and self-referential narration, all topped with the well-loved Kevin Spacey, but Netflix specifically chose to release all 13 episodes of the first season all at once. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Unrestricted by weekly release schedules, this model means many viewers are devoting long weekends to watching the show in one go, a practice referred to as binge watching. This phenomenon isn’t new to streaming video; it dates back to well before television shows were even released on VHS, with über fans collecting recordings of their favorite TV shows on homemade tapes. While eventually whole seasons were released on VHS it wasn’t until soon after the invention of DVDs in 1995 that buying whole seasons of a show became mainstream practice. \u003ci>Buffy the Vampire Slayer\u003c/i> was watched by many not during its ‘theatrical release’ but well after the show was no longer on television. Fans could be found binge watching season after season on DVD.\u003c/p>\n\u003cp>Netflix CEO Reed Hastings says viewers prefer this more novelistic approach \u003ca href=\"http://www.theverge.com/2013/2/25/4029208/netflix-ceo-reed-hastings-says-house-of-cards-not-center-of-company\">saying\u003c/a>, “We think the season is like the book.” With novels the reader can control the speed at which they read the content, and while many readers are happy to keep books to a leisurely pace, series like \u003ci>Harry Potter\u003c/i> or \u003ci>Game of Thrones\u003c/i> can get readers in a frenzy, tearing through book after book to reach the end (i.e. binge reading).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a novel, the show spends no time recapping or refreshing our memory of what happened last time, because it assumes the last episode was watched recently. This kind of devoted attention means the show can make twists and turns in detail-oriented content without fear that viewers will miss something or get lost. It keeps the world alive in the viewer/reader’s mind. Another similarity to novels is the buy-in, uninterrupted, ad-free experience. Each hour-long episode is actually an hour long, with no commercial breaks to loosen the grip of the plot or distract from the drama. \u003c/p>\n\u003cp>And this kind of ever growing complexity seems, from a step removed, to simply be the next logical evolution in television content. Steven Johnson, author of \u003ci>Emergence\u003c/i>, wrote in a 2005 \u003ci>New York Times\u003c/i> article, \u003ca href=\"http://www.nytimes.com/2005/04/24/magazine/24TV.html?pagewanted=2&_r=1&\">“Watching TV Makes You Smarter”\u003c/a> (2005), “Televised intelligence is on the rise. Think of the cognitive benefits conventionally ascribed to reading: attention, patience, retention, the parsing of narrative threads. Over the last half-century, programming on TV has increased the demands it places on precisely these mental faculties.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards4.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In graphs explaining story density, Johnson compared TV series from different decades. Here the vertical axis represents the number of individual story threads the viewer needs to follow, and the horizontal axis is time. With this type of visualization, \u003ci>Starsky and Hutch\u003c/i>, a TV darling of the ’70s, is revealed, even to those who have never seen the show, to be a simple, straightforward narrative, easy to follow with little attention required. \u003ci>The Sopranos\u003c/i>, a show loved by early 2000s audiences, by comparison, maintains a main storyline, as seen in the almost complete line of boxes near the bottom of the graph, but also knits in bits of other stories as it goes, making for a more dynamic, engaging and attention-demanding show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003ci>House of Cards\u003c/i> with its ad-free, long-format, binge-watching structural envelope allows for even higher levels of complexity than allowed by the old television format. The streaming environment provides space for more information and heightened complexity in both story lines and character development. Only the slow improvement in viewing technology seems to be controlling the speed at which we move from \u003ci>Starsky and Hutch\u003c/i> to \u003ci>House of Cards\u003c/i>. Whatever is the next, newest content viewing platform, we can be sure even more richly variegated stories are on their way.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 783,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705050120,
"excerpt": "As viewing platforms change, television programs change as well, growing denser, more complex, and -- interestingly -- more like reading a book.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As viewing platforms change, television programs change as well, growing denser, more complex, and -- interestingly -- more like reading a book.",
"title": "'House of Cards': An Evolution in Content | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'House of Cards': An Evolution in Content",
"datePublished": "2013-03-10T00:36:42-08:00",
"dateModified": "2024-01-12T01:02:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "house_of_cards_an_evolution_in_content",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/multimedia/multimedia-tv/",
"sticky": false,
"path": "/arts/117576/house_of_cards_an_evolution_in_content",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first season of \u003ci>House of Cards\u003c/i>, a Netflix-original, Machiavellian political drama series, was released on February 1, 2013. In a little over a month the show has become the most streamed pieces of content in the country, according to Netflix. But with the internet already raving over the success of the show and Netflix frankly admitting to its pre-calculated popularity (essentially based on previous ratings of available Netflix videos) what is there left to talk about?\u003c/p>\n\u003cp>Well there’s what we watch, how we are watching it, and why. Short format vs. long format content is a big divider on the internet these days and Netflix seems to have made all the right moves for long-form viewing. Not only is \u003ci>House of Cards\u003c/i> calculated to win as a political drama with its use of technology and self-referential narration, all topped with the well-loved Kevin Spacey, but Netflix specifically chose to release all 13 episodes of the first season all at once. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Unrestricted by weekly release schedules, this model means many viewers are devoting long weekends to watching the show in one go, a practice referred to as binge watching. This phenomenon isn’t new to streaming video; it dates back to well before television shows were even released on VHS, with über fans collecting recordings of their favorite TV shows on homemade tapes. While eventually whole seasons were released on VHS it wasn’t until soon after the invention of DVDs in 1995 that buying whole seasons of a show became mainstream practice. \u003ci>Buffy the Vampire Slayer\u003c/i> was watched by many not during its ‘theatrical release’ but well after the show was no longer on television. Fans could be found binge watching season after season on DVD.\u003c/p>\n\u003cp>Netflix CEO Reed Hastings says viewers prefer this more novelistic approach \u003ca href=\"http://www.theverge.com/2013/2/25/4029208/netflix-ceo-reed-hastings-says-house-of-cards-not-center-of-company\">saying\u003c/a>, “We think the season is like the book.” With novels the reader can control the speed at which they read the content, and while many readers are happy to keep books to a leisurely pace, series like \u003ci>Harry Potter\u003c/i> or \u003ci>Game of Thrones\u003c/i> can get readers in a frenzy, tearing through book after book to reach the end (i.e. binge reading).\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>Like a novel, the show spends no time recapping or refreshing our memory of what happened last time, because it assumes the last episode was watched recently. This kind of devoted attention means the show can make twists and turns in detail-oriented content without fear that viewers will miss something or get lost. It keeps the world alive in the viewer/reader’s mind. Another similarity to novels is the buy-in, uninterrupted, ad-free experience. Each hour-long episode is actually an hour long, with no commercial breaks to loosen the grip of the plot or distract from the drama. \u003c/p>\n\u003cp>And this kind of ever growing complexity seems, from a step removed, to simply be the next logical evolution in television content. Steven Johnson, author of \u003ci>Emergence\u003c/i>, wrote in a 2005 \u003ci>New York Times\u003c/i> article, \u003ca href=\"http://www.nytimes.com/2005/04/24/magazine/24TV.html?pagewanted=2&_r=1&\">“Watching TV Makes You Smarter”\u003c/a> (2005), “Televised intelligence is on the rise. Think of the cognitive benefits conventionally ascribed to reading: attention, patience, retention, the parsing of narrative threads. Over the last half-century, programming on TV has increased the demands it places on precisely these mental faculties.” \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards3.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/03/10/houseofcards4.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>In graphs explaining story density, Johnson compared TV series from different decades. Here the vertical axis represents the number of individual story threads the viewer needs to follow, and the horizontal axis is time. With this type of visualization, \u003ci>Starsky and Hutch\u003c/i>, a TV darling of the ’70s, is revealed, even to those who have never seen the show, to be a simple, straightforward narrative, easy to follow with little attention required. \u003ci>The Sopranos\u003c/i>, a show loved by early 2000s audiences, by comparison, maintains a main storyline, as seen in the almost complete line of boxes near the bottom of the graph, but also knits in bits of other stories as it goes, making for a more dynamic, engaging and attention-demanding show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003ci>House of Cards\u003c/i> with its ad-free, long-format, binge-watching structural envelope allows for even higher levels of complexity than allowed by the old television format. The streaming environment provides space for more information and heightened complexity in both story lines and character development. Only the slow improvement in viewing technology seems to be controlling the speed at which we move from \u003ci>Starsky and Hutch\u003c/i> to \u003ci>House of Cards\u003c/i>. Whatever is the next, newest content viewing platform, we can be sure even more richly variegated stories are on their way.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/117576/house_of_cards_an_evolution_in_content",
"authors": [
"139"
],
"categories": [
"arts_75"
],
"featImg": "arts_10117576",
"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": 2868,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 2996,
"relation": "eq"
},
"items": [
"arts_123724",
"arts_123416",
"arts_123175",
"arts_122897",
"arts_122693",
"arts_122262",
"arts_121772",
"arts_121283",
"arts_120680",
"arts_119489",
"arts_119117",
"arts_117576"
],
"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"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
}
},
"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": {}
}
}
}